Thanks in large part to an exploitation film producer and distributor named K. Gordon Murray, a unique collection of horror films from Mexico began to appear on American late-night television and drive-in screens in the 1960s. Ranging from monster movies clearly owing to the heyday of Universal Studios to the lucha libre horror films featuring El Santo and the “Wrestling Women,” these low-budget “Mexploitation” films offer plenty of campy fun and still inspire cult devotion, yet they also reward close study in surprising ways. This work places 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. Stills accompany the text, and a selected filmography and bibliography complete the volume.