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In the 1960s, producer and distributor named K. Gordon Murray started to build a career out of importing a unique collection of horror films from Mexico into the US.

From monster movies with a clear debt to the 1930s Universal films to the lucha libre horror films featuring El Santo and the “Wrestling Women” - recently referenced by Jack Blacks Nacho Libre - these films offered good camp fun and, inevitably, inspired a cult following.

Now Doyle Green attempts to place Mexploitation films in their historical and cultural context, and provides close textual readings of a representative sample, showing how they can be seen as important documents in the cultural debate over Mexico’s past, present, and future.

There’s pictures, too.

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