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Cynthia Duncan. Reading Power: Some Observations on the Construction of Meaning and Authority in María Luisa Bombal’s ‘La última niebla’. Revista Hispánica Moderna 1998;:304–16.http://ezproxy.lib.gla.ac.uk/login?url=http://www.jstor.org/stable/30203524
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ESPINOSA H. P. La última niebla de María Luisa Bombal: excentricidad, desacato y eroticidad en el devenir identitario femenino. Acta literaria Published Online First: 2005. doi:10.4067/S0717-68482005000200002
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Joyce Tolliver. ‘Otro modo de ver:’ The Gaze in La última niebla. Revista Canadiense de Estudios Hispánicos 1992;17:105–21.http://ezproxy.lib.gla.ac.uk/login?url=http://www.jstor.org/stable/27762979
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King J, Whitaker S, Bosch R. An Argentine passion: María Luisa Bemberg and her films. London: : Verso 2000.
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Shaw L, Dennison S. Latin American cinema: essays on modernity, gender and national identity. Jefferson, N.C.: : McFarland & Company 2005.
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Richard K. Curry. La estructuración del discurso fílmico en ‘Camila’ de María-Luisa Bemberg: ‘filtros’. Letras Femeninas 1992;18:11–23.http://ezproxy.lib.gla.ac.uk/login?url=http://www.jstor.org/stable/23022569
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ESTELA ERAUSQUIN. María Luisa Bemberg’s Revolt. Revista Canadiense de Estudios Hispánicos 2002;27:45–57.http://ezproxy.lib.gla.ac.uk/login?url=http://www.jstor.org/stable/27763813
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STEPHEN M. HART. Bemberg’s Winks and Camila’s Sighs: Melodramatic Encryption in Camila. Revista Canadiense de Estudios Hispánicos 2002;27:75–85.http://www.jstor.org/stable/27763815?seq=1#page_scan_tab_contents
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Bruce Willaims. In the Realm of the Feminine: María Luisa Bemberg’s ‘Camila’ at the Edge of the Gaze. Chasqui 1996;25:62–71.http://ezproxy.lib.gla.ac.uk/login?url=http://www.jstor.org/stable/29741255