User:Kreino1/sandbox

To Kill a Mockingbird in popular culture sources 1.) First published in 1960, this novel shocked its debut author and her publisher when it won the Pulitzer Prize and became a best seller. Since then, Mockingbird has sold nearly one million copies a year, and for the past five years has been the second-best-selling backlist title in the country. To Kill a Mockingbird is perhaps our foremost example of the private reading experience writ larger by its communal—and now multigenerational replication. Fans and the indifferent alike can remember when and where they were when they read the book, voluntarily or not, for the first time. Recollection of that memory of reading, perhaps even more than the book itself, is the reason To Kill a Mockingbird has become an enduring metaphor for justice, goodness, and the bittersweetness of growing up.

Harper Lee and her publisher did not expect To Kill a Mockingbird to be such a huge success. Since it was first published in 1960, it has sold close to one million copies a year and has been the second-best-selling backlist title in the United States. Whether they like the book or not, readers can remember when and where they were the first time they opened the book. Because of this, To Kill a Mockingbird has become a pillar for students around the country and symbol of justice and the reminiscence of childhood.

2.) To Kill a Mockingbird is a classic of American cultural–legal studies, and it offers in Atticus Finch an iconic hero who, as Stephen Lubet suggests, is popular culture's most important embodiment of lawyerly virtue. As other scholars have noted, however, To Kill a Mockingbird is not just, or primarily, a law story. Rather, Scout Finch's portrait of Atticus as a father is regarded by many as the key to the text's cultural resonance.

To Kill a Mockingbird is not solely about the cultural legal practices of Atticus Finch, but about the fatherly virutes he held towards his children and the way Scout viewed him as a father.

Horror films of Mexico lead section The rise of horror films in Mexico in the 1930s started with films like El fantasma del convento and Dos monjes from the writer-director Juan Bustillo Oro. Up until about the 1950s, moviehouses were mainly showing melodramas and westerns, which caused some trouble for Bustillo Oro. His films may have been popular, but they were not necessarily welcome on the big screen. As a result, his movies were associated with wrestling shows because of the outlandish costumes and makeup and the violent nature. Lucha libre, the term for professional wrestling in Mexico, became an important part of horror films in Mexico. Writers and producers would infiltrate the spooky aspects of horror films, like vampires, werewolves, and mummies, into the lucha libre films.

The United States producer K. Gordon Murray introduced Mexican horror films to an international audience. Murray acquired nearly seventy Mexican films, with many different genres among the mix and about thirty horror films, and distributed them in the United States. This was only the start of Mexican horror films becoming more popular among other countries.