Artist of the Month - APRIL

Our featured Artist of April is Los Tigeres de Notre!!!

In 1968 a band of brothers from a small pueblo of Rosa Morada, Mocorito in the state of Sinaloa, Mexico, left in search of musical progress in San Jose, California. By the early 1970’s with the release of their two early narco-corridos titled “Contrabando Y Tracion” and “La Banda de Carro Rojo,” ballad songs which told the stories of a drug trafficking group formed by “Emilio Varela [and] Camelia La Tejana,” help push the immigrant band to fame (web). Besides singing the thrilling narco-corridos the band as well plays regular corridos which gave voice to the immigrant community, by presenting songs that tell the struggles of the undocumented immigrant as well as political issues in both the U.S. and Mexico which served as driving forces, the band has composed songs like "La Jaula De Oro” in 1986, (Web). Though the band is viewed as a pioneer group in the Mexican corridor and narco-corrido genre, “the group has never allowed their image to be misrepresented by being photographed with weapons or by the use of offensive language in their music. They have also taken it upon themselves to express their love and respect of women in their songs and to never glorify ‘narcotic’ themes, instead approaching the subject in the group’s role of “true-to-life” storytellers,” (web).

This is a link to the song and below is the lyrics both in Spanish and English of this song.

http://youtu.be/a28XL2Kw6IE

http://lyricstranslate.com

We are more american

They have shouted at me a thousand times I should go back to my country
Because there’s no room for me here
I want to remind the gringos: I didn’t cross the border, the border crossed to me
America was born free, but men divided it
They marked a line so that I jump it
And they can call me “invader”
And that’s a very frequent mistake
They took from us eight states
Who’s then the invader?
I’m a foreigner in my own land
And I didn’t come here to cause you trouble
I’m a hard-working man

And if history isn’t lying
The powerful nation settled here, in the glory
Among brave warriors,
Indians of two continents mixed with Spaniards
And if we take centuries into account
We are more American
We are more American than the children of the Anglo-Saxons

They got from us without money the waters of the Río Grande
And they took from us Texas, New Mexico, Arizona and Colorado
Also California and Nevada were taken away
Utah was not enough, so they took Wyoming as well
I’m the blood of the Indian
I’m Latin American, I’m mestizo
We are made of all colours
And of all trades
And if we take into account centuries

even if it hurts our neighbours
We are more American
Than all of the gringos

http://lyricstranslate.com

Ya me gritaron mil veces que me regrese a mi tierra,
Porque aqui no quepo yo
Quiero recordarle al gringo: Yo no cruce la frontera, la frontera me
cruzo.
America nacio libre, el hombre la dividio. Ellos pintaron la raya, para
que yo la brincara y me llaman imbasor es un error bien marcado
nos quitaron ocho estados quien es aqui el imbasor. Soy extranjero en
mi tierra, y no vengo a darles guerra, soy hombre trabajador.

Y si no miente la historia, aqui se asento en la gloria la poderosa nacion
entre guerreros valientes, indios de dos continentes, mezclados
con espanol. Y si a los siglos nos vamos: somos mas americanos,
somos mas americanos que el hijo del anglo-saxon.

Nos compraron sin dinero las aguas del rio bravo. Y nos quitaron a
Texas, Nuevo Mexico, Arizona y Colorado. Tambien volo California y
Nevada con Utah no se llenaron, el estado de Wyoming, tambien
nos lo arrebataron Yo soy la sangre del indio Soy latino soy mestizo
Somos de todos colores Y de todos los oficios Y si contamos los siglos
Aunque le duela al vecino Somos mas americanos Que todititos los
gringos

Corridos in Contemporary Film

Contemporary Corrido Films:

The Mexican Immigrant Identity

and Narco-Corrido Films

La Tumba del Mojado

A corridor written by “Los Tigres del Norte,” and created as a film directed by Jose Luis Urquieta which was released in 1985, depicts the story an undocumented couple immigrants working in the United States, whom because of their citizenship and discrimination from American society are forced into the dangerous world of crime.

Part 1:

http://youtu.be/km3h3WEu37E

Part 4:

http://youtu.be/I6Q8VpkJJnU

The identity concept within this film that differs from the early corrido film is the notion that the new contemporary corridos have focused more on the issues of immigration to the United States and the world of crime and have portrayed the undocumented worker as the national identity of Mexicans. As we have seen historically in past corridos, certain criminal action has been viewed as a characteristic of a hero. The film idolizes the undocumented worker (who by law came to the U.S. illegally) more than the Mexican drug lord who comes to America to progress through violence or drugs. The film favors the undocumented worker because in the film the characters are common folks from the rural areas of Mexico who simply work very hard to support family members back in Mexico. The female undocumented worker is strong and does not allow a pregnancy from leaving work. The male character in the film sums responsibility in supporting his pregnant girlfriend and works hard to return to her after being deported. When it comes to the national identity, this film has in some way presented a concrete Mexicanidad, the undocumented worker seems to be the national identity that Mexican citizen should thrive to be because the undocumented worker does not surrender to obstacles and continues to pursue progress in a humble honest manner.

The Evolution of Corridos

       From the buffalo hunters of the mid-19^th century to modern day drug smuggling, corridos span across nearly two centuries capturing musical history, usually with a guitar, of Mexico and the Southwest United States.  The main subject of corridos tends to deal with events of social justice and cultural importance, like Emiliano Zapata, a famous figure who fought and died during the Mexican Revolution in 1910 (To learn more about Emiliano Zapata, click on this link: http://www.corridos.org/main2.asp?language=E).  Other corridos focus on subjects of heroism, particularly those who committed heinous acts against America and European American authority figures.  Take for instance Gregorio Cortez who, in 1901, shot two American sheriffs and escaped capture by the Texas Rangers (To learn more about Gregorio Cortez, click on this link: http://www.digitalhistory.uh.edu/learning_history/mexican_songs/cortez.cfm).  People like Cortez were seen as villains and murderers in America, but in Mexico and parts of the Southwest, Cortez was a hero who defended Mexicans from privileged and abusive Americans.  It is evident that corridos span and capture a shared history between Mexico and America and is as important to a historian as a revolutionary war.  Corridos are always changing and adapting to cultural influences and social injustices.  To write a history of corridos is to write a history of Mexico.  However, to attempt a fair overview on the history of corridos this section of our blog will focus on the origin of corridos, and a couple social and cultural forces that shaped the history of corridos and that give a vague outline of how they adapted from the mid-19^th century to modern day.
       Corridos, like most forms of music, adapted from earlier styles of songs.  One scholar, Merle E. Simmons, argues that the peculiar style and format of Mexican corridos are not as unique as they may seem:

“Most important is the fundamental fact that the use in fairly long narrative ballads of isosyllabic quatrains, usually rhymed abcb with consonantal rhyme, was not an innovation of Mexico’s corridistas, nor was it even an original adaptation for narrative purposes of a meter formerly reserved for satirical coplas. The copla form employed in Mexico’s definitive corrido was already serving singers of historical ballads in otherareas of Spanish America, and probably in Mexico too, early in the nineteenth century” (Simmons 11). 

Whether Simmons is right or not is contingent on the truth of his material.  What can be taken from this however, is that there is a history of music and songs similar to that of the corrido.  Corridos may or may not have originated from a particular musical tradition, but they were not the only form, nor the most popular style of music, during the 19^th century.  Another scholar, Terrence L. Hansen, argues that:  

 “Having its origin in the Spanish romance of the fifteenth and sixteenth centuries, the corrido is found in the southern provinces of Spain, in Chile, Colombia, Venezuela, the Philippine Islands, and Mexico, as well as in the Hispanic areas of the United States” (Hansen 204).

 Hansen shows that not only does the corrido share its unique form with traditional types of music, they are also found around the world and not just in Mexico.  This tells us that the corrido as a term itself is nothing new and extravagant to history.  It is how the corrido is used which makes it so popular and unique to Mexico and the Southern United States.    

       The Texas Rangers no longer clash in the same way they used to with the Mexican people.  Corridos used to emulate Mexican heroes that defied the Texas Rangers in some way during the 19^th century.  More recently, however, corridos have taken up the increasing problem of social identity for Mexicans living in Texas: “…the narrative form of the corrido gave way, if only momentarily, to the emergent consciousness of Texas-Mexican social identity, a consciousness different from that expressed by the poetics of the Mexican hero” (Flores 166).  The same problem faced by many immigrants into the United States is finding their sense of identity.  The task is not easy when there are various terms to describes people of Mexican descent living in Texas, or vice-versa. There are puro Mexicanos, true-born Mexicans; and mexicotejanos, Texas-Mexicans (Flores 166).  This shows that the narrative form and tradition of the corrido is changing and adapting to new issues of social and cultural importance, and it is not only limited to a Mexican audience.  The unique style and popular interest of corridos is due to the history of Mexicans, Mexican Americans, and mexicotejanos.
        The Mexican Student Movement of 1968 influenced the political and social lives of citizens, and corridos helped to record the event (Hazel). Judith Reyes, who is often referred to as “the chronicler of 1968 Student Movement,” created twelve corridos containing eye witness accounts of the movement while most of the mass media was silenced by political authorities (Garcia). Reyes used corridos as more of an “…oral form of reporting and commenting on current affairs and issues with a predominantly illiterate population” (Frazer). The modern corrido was influenced by Reyes, the Student Movement, and an oppressive, elitist political authority by reverting back to its function as a “…form of history ‘by and for the people’ in an atmosphere where political dissent was difficult or impossible to articulate via the media and electoral politics” (Hazel).
 

Corridos and other Music

            Corridos are Spanish ballads.  Ballads are songs or poems in traditional forms that tell a story in a number of short, regular stanzas.  There are many different types of ballads.  Country music, pop music, folk music, and even hip hop/R&B music.
             Ballads are important because they tell the story of our lives.  They can record history that may not be recorded any other way.  They can connect people from many different places by telling stories the everyone can relate to in some way or another.  

COUNTRY MUSIC

     Johnny Cash wrote many songs over his long career in country music.  "Folsom Prison Blues" tells the story of a man who is imprisoned for shooting a man in Reno "just to watch him die."  This song is similar to many corridos because of the story it tells, and the way in which it tells the story.  Another Johnny Cash song that tells a story, is "A Boy Named Sue" written by Shel Silverstein.  

POP MUISIC

     John Melencamp's song, "Jack and Diane" tells the story of two average American kids growing up and falling in love.  It is the epitome of pop songs for the common man.  

    Foster the People's song "Pumped up Kicks" tells the story of a boy who brings a gun to school.  Just like corridos, it tells a story that isn't really a positive one, and matches it with a catchy beat, and a repetitive chorus. 

FOLK MUSIC

Folk music is known for telling stories.  One of the longest folk songs is "Alice's Restaurant" by Arlo Guthrie.  The song documents his draft experience and how he was rejected for being a litterbug.  It is nearly 20minutes long.  

Bob Dylan is on of the best folk-rock singers of all time.  His song, "Hurricane"  tells the story of boxer Rubin "Hurricane" Carter who was wrongfully arrested and imprisoned for nearly 20 years. 

RAP/HIP-HOP/R&B MUSIC

"Stan" by Eminem tells the story of an obsessed fan through his letters to his idol.

"Airplanes" by B.O.B. featuring Hayley Williams tells the story of the bands rise to fame, and how the music was better when they were making it for the sake of making it instead of trying to make money.

     Corridos are similar to many different types of music.  Any song that tells a story can be compared to a corrido in some way.  The examples above are just a few of the many different songs that embody the same type of ballad. 

Corridos in Early Films

 Mexicanidad the Mexican Identity:

Costumbrismo within the Corrido Cinema

Mexico a nation, whose history reflects the diverse ethnic groups of Mestizo, Afro-Mexican, and indigenous communities thriving within its many countryside and cities, have faced the challenge of solely identifying that the Mexican identity is. Since the mid-1800s when works of literature and art flooded the Mexican territory promoting a national identity, by describing local dances, linguistic speech and folk stories from people outside the cities who were “believed to embody the national essence” because of the fact that they lacked the European identity. With the era of Costumbrismo rooted deep within early works of Mexican art pushing for a national identity to take stand, we are able to see this type of work to continue to push in the genre of corridor music as well as film.

As mentioned in the introduction with the discussion of corridos serving as an identity tool for the general community of the lower and middle class by discussing the class, economic, folk and political history. Charles Ramirez Berg identified in his book Cinema of Solitude: A Critical Study of Mexican Film, 1967-1983 that “Mexicanidad has been a key concept in Mexican intellectual, political, and artistic thought for most of this century,” (Berg 13). From the “cinematic golden age” that began in the mid-1800s and progressed by the 1930s to its collapse near the 1970s, custombrismo/mexcanidad has been ongoing themes within the corridos as well as films how have incorporated famous corridos within the film’s plot.
Mexican art, literature, music and film have historically served as a tool of national representation. Since the early works of construmbristas, to the singers composing corridos and film makers adopting corridor plots, this issue of the Mexican identity has been raised. Film in general has set a divide with the national identity, one in which it disproves a concrete identity, and another which favors a particular identity within society. By adopting the many stories or themes that corridos tell into films, the cinema industry has served as a tool of construmbismo which either depicts an identity that Mexico should conform to or simply raise questions within the viewers. Questions like what is Mexicanidad, does it really exist or can we really pinpoint it to sole characteristic? As history continues to unfold and the corrido tradition continues to compose, film will as continue to adopt these corridos and continue to raise questions about our identity.   

Early Corrido Films

Caminos de Guanajuato

A corridor film, produced by Jesus Grovas, and directed by Rafael Baledon. The film was released in 1955 through the Cinematografica Latino Americana, S.A. film company. The film starring Jose Alfredo Jimenez (singer who composed “Camino de Guanajuato), Lola Beltran, and Demetrio Gonzalez are three artists from different rural parts of Mexico, whom have immigrated to the city in search of musical stardom and economic progress. 

Part 1:

http://youtu.be/PfjJiqkEivU

Part 2:

http://youtu.be/dheuzl8Bo70

Besides presenting the miss conception about urban immigration as a progressive idea, the film itself reveals the different identities that exist within the urban city, disvaluing in some sort the existence of a pure concrete Mexican identity. Returning to the notion of costumbrismo portraying the rural identity as an embody of the purest national identity, the three rural characters that come from different countryside areas of Mexico, each have their own way of dress, education, style of music, and beliefs which challenges the costumbristas ideology of national identity. It is possible that simply what this film tries to depict is that in fact there is no true national identity. The films interpretation of Mexicanidad  is simply the diverse identity within its borders. When we take a look at the exact corrido that Jimenez wrote, his corridor as well pays homage to the many different unique areas from his home of Guanajuato, revealing that even a state within Mexico has its identities different from those that neighbor it. Each town within the state of Guanajuato has its own stanza of description. 

 "Caminos de Guanajuato" by José Alfredo Jiménez

No vale nada la vida
Life is worth nothing
La vida no vale nada
Life is worth nothing
Comienza siempre llorando
It always begins with crying
Y así llorando se acaba
And with crying is how it ends
Por eso es que en este mundo
Because of that in this world
La vida no vale nada
Life is worth nothing

Bonito León Guanajuato
Pretty León, Guanajuato
Su feria con su jugada
Her fair with her game
Ahí se apuesta la vida
There life is bet on
Y se respeta al que gana
And the winner is respected
Allá en mi León Guanajuato
There in my León Guanajuato
La vida no vale nada
Life is worth nothing


Camino de Guanajuato
Road of Guanajuato
Que pasas por tanto pueblos
That passes by so many towns
No pasas por Salamanca
Don't pass by Salamanca
Que ahí me hiere el recuerdo
For there the memory hurts me
Vete rodeando veredas
Take the pathways around
No pases por que me muero
Don't go there because I will die

El Cristo de tu montaña
The Christ of your mountain
Del cerro del Cubilete
Of Mount Tumbler
Consuelo de los que sufren
Solace of those who suffer
Adoración de la gente
Worship of the people
El Cristo de tu montaña
The Christ of your mountain
Del cerro del Cubilete
Of Mount Tumbler

Camino de Santa Rosa
Road of Santa Rosa
La Sierra de Guanajuato
The Mountain Peak of Guanajuato
Ahí nomás tras lomita
There just over the ridge
Se ve Dolores Hidalgo
Dolores Hidalgo is seen
Ahí me quedo paisano
There I remain a country person
Ahí es mi pueblo adorado
There is my beloved town 

Check back later for more information about Corridos in film!!! 

Annotated Bibliography

Berg Ramirez, Charles. “Cinema of Solitude: a Critical Study of Mexican film, 1967-1983.”             University of Texas Press, 1992. Print.1-252

       This book describes the themes behind film from its early starts during the mid-late 1800s to the collapse of the golden age of Mexican film near the 1970s. The section that I focused more was on the notion of the Mexican identity within film. Berg explains that this notion of focusing too much on portraying the Mexican identity lead to a change within film, in which characters were more in the realm of solitude, or a portrayal of a melancholy world.

Burr, Ramiro. "Narcocorrido Crackdown In Mexico Has Mixed Effect On Sales, Airplay." Billboard 115.11 (2003): 28. Academic Search Premier. Web. 6 Apr. 2012.

      With the ongoing drug war violence happening in Mexico, the Mexican government have made it a grand issue to repress the famous narco-corridos from reaching the public ear. Yet, what this issue points out is that the governmrnt by using narco-corridos and the current violent situation as a legitimizer to prevent the air-play of certain songs, it has also taken the charge to silence regular corridos that portray government corruption. Using this article we intend to show the reason for why contemporary corridos have risen popularity in the public and have become unpopular for most of the government.


Cobo, Leila. "Los Tigres Take Their Stories From Real Life." Billboard 116.16 (2004): 5-77. Academic Search Premier. Web. 6 Apr. 2012.

      Los Tigeres del Norte, a group that has become one of the most popular groups who has undertaken the realm of corridos and narco-corridos in order to create a sense for social action instead of simply creating a good song to listen or to pay any homage to drug kingpins. Through this article for historical purposes we can show how contemporary bands like the one in this article use the corridos as well as the dangerous narco-corridos in order to create a social awareness.

Dzuris, Linda. "Using Folk Songs and Ballads in an Interdiciplinary Approach to American History." The History Teacher 36 (2003): 331-342. Print.

This highlights the importance of ballads and folk songs as markers of history which can be applied to corridos as well. I found it very interesting talking about incorporating these non-traditional sources in the teaching of history.


Hansen, Terrence L. “Corridos in Southern California.” Western Folklore, Vol. 18 (1959): 203- 232. Western States Folklore Society. Web. April 6 http://0-www.jstor.org.dunnlib.simpson.edu/stable/1497707

     Corridos in Southern California not only gives an historical account of Southern California corridos, but it also provides analysis of how the corridos are constructed by the authors. It shows the lyrical significance of corridos and not just the social importance. This source will help our group provide a more detailed account of what a corrido is, both historically and lyrically.



Hind, Emily. "Post-NAFTA Mexican Cinema, 1998-2002." Studies In Latin American Popular Culture 23.(2004): 96-111. Academic Search Premier. Web. 6 Apr. 2012.

     This article describes the push for a more conservative production of films due to the push by both the U.S. and Mexican president at the time. What the push requires or seeks that the film industry creates is films that portray issues in a conservative manner like advocating for abstinence and preventing the mention of condoms. What this article allows us to see is the turn in how less corridor, especially narco-corrido films have been created because the content that most of these corridors depict are scenes, themes or issues that are not acknowledged or accepted by the ruling
 government.




Jónsdóttir, Kristín Guðrún. "De Bandolero A Ejemplo Moral: Los Corridos Sobre Jesús Malverde, El Santo Amante De La Música. (Spanish)." Studies In Latin American Popular Culture 25.(2006): 25-48. Academic Search Premier. Web. 22 Mar. 2012.

     The article raises the awareness of how the two forms of corridor—heroic and victim corridos—are corridos that each has their own independent style like image and language use as well as form. Besides pointing out the unique forms of corridos we hope to use this source in order to challenge or prove when we view corridos in Film. We will see if whether or not corridor films are restricted to fall under one of these two styles or does film incorporate both and if so, how?



Kantaris, Geoffrey. "Cinema And Urbanías: Translocal Identities In Contemporary Mexican Film." Bulletin Of Latin American Research 25.4 (2006): 517-527. Academic Search Premier. Web. 6 Apr. 2012.

     This article raised the issue of how contemporary films have become more inclusive to the notion of portraying characters who are able to both embrace both the urbanization of Mexico as well as find acceptance to the Mexican rural, and in doing so films that adopt and present criteria like this are creating a national identity in film that allows for a rural and urban Mexican to live. Using this article we plan to us it in order to understand why some early corridor films have shown an embracement for the rural Mexican, and how that has transition to the urban as well as see if whether more recent corridor films have reflected a positive acceptance to both the urban and rural as a way to render a translocal Mexican identity.


Marsh, Hazel. "Writing Our History in Songs: Judith Reyes, Popular Music and the Student Movement of 1968." Bulletin of Latin American Research, Vol. 29 (2010): 144-59. Academic Search Premier.

     The importance of this article to our paper is its focused topic over a specific history of corridos. More importantly the article shows how corridos, as a cultural aspect, changes along with Mexican culture. This article will give us a lot to explore concerning the history and character of corridos.


Nicolopulos, James. "The Heroic Corrido: A Premature Obituary?." Aztlan 22.1 (1997): 115. Academic Search Premier. Web. 6 Apr. 2012.

     The article raises the notion that historical up rise of narco-corridos popularity due to commercialization as well as historic relevance. Using this article we plan to explain why as well in film, in the late nineties there is a great want for films that embody themes or story plots from the narco-corridos.


Paredes, Americo. “The Ancestry of Mexico’s Corridos: A Matter of Definitions.” The Journal of American Folklore, Vol. 76 (1963): 231-235. American Folklore Society. Web. April 6 http://0-www.jstor.org.dunnlib.simpson.edu/stable/538524

     Americo Paredes’ article gives important information concerning the history of corridos. Such information is helpful to our group, because a large chunk of our paper is over the history and importance of corridos. More importantly, this article gives counter examples and definitions to how Merle Simmons, another one of our sources, uses the term and defines what a corrido is, and how it came to be.


Stavans , Ilan. "Spanglish: Tickling the Tounge." World Literature Today 74 (2000): 555-558. Print.

     This article brings more insight on the use of Spanglish. It is a more positive perspective than  "So-Called Spanglish" and I think it will be useful to counter that article. It is very informative and helpful to understand the hybridity of Spanglish.


Otheguy, Ricardo , and Nancy Stern. "On So-Called Spanglish." International Journal of Bilingualism (2010): 85-100. Print.

     This article refutes the idea of Spanglish and discusses reasons why or why not it is a real language. The article focuses on the language specifically and therefore could be useful when we are talking about the use of "So-Called Spanglish" in reference to corridos.



Ramsay, Paulette A. "History, Violence And Self-Glorification In Afro-Mexican corridos from Costa Chica De Guerrero." Bulletin Of Latin American Research 23.4 (2004): 446-464. Academic Search Premier. Web. 22 Mar. 2012.

     This article point out the various styles of corridos that thrive in Mexico and in particular focuses on an area in Guerrero known as Costa Chica, where a diverse Mexican ethnic group thrives and as well creates corridos using various Afro styles of music into their corridor. We plan to use this source as means to show that corridos are very different from region to region. As well as show how historically the corridor music has undergone many transitions, depending on who influences the music.


Simmons, Merle. “The Ancestry of Mexico’s Corridos.” The Journal of American Folklore, Vol. 76 (1963): 1-15. American Folklore Society. Web. April 6
http://0www.jstor.org.dunnlib.simpson.edu/stable/538074

     Merle Simmons article in The Journal of American Folklore, while published in 1963, gives insight into the history of Mexican corridos. Within our paper, a main focus is on the history of corridos, and I plan on potentially using this article to provide a more enlightened view on the history of corridos.


Woolsey, A. W. “A Contemporary Texas Tragedy Related in Two Mexican “Corridos”.” Hispania 28 (1945): 505-507. American Association of Teachers of Spanish and Portuguese. Web. April 6 http://0-www.jstor.org.dunnlib.simpson.edu/stable/333796

     This article explores a specific event in history that shows how American and Mexican cultures dramatically clashed in Texas. Two corridos were created to signify the event. This particular source is important to our paper, because we want to explore how corridos were influenced by the United States.
 

Grovas, Rafael. “Caminos de Guanajuato.” Web. Youtube. http://youtu.be/PfjJiqkEivU.

Grovas, Rafael. “Caminos de Guanajuato Part II” Web. Youtube. http://youtu.be/dheuzl8Bo70.

Urquieta Luis, Jose. “La tumba del Mojado.” Web. Youtube. http://youtu.be/km3h3WEu37E.

Urquieta Luis, Jose. “La tumba del Mojado Part IV.” Web. Youtube.                                                            http://youtu.be/I6Q8VpkJJnU

       These four youtube clips are Corrido films, which I will use to demonstrate the difference between the two in content and theme. These sections of the film will help as evidence to what a corridor film is.