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Coillard, Jean-Paul (2009), De la cage au grand écran. Entretiens avec Alejandro Jodorowsky, Paris. K-Inite Editions.
Chignoli, Andrea (2009), Zoom back, Camera! El cine de Alejandro Jodorowsky, Santiago de Chile, Uqbar Editores.
Dominguez Aragones, Edmundo (1980). Tres extraordinarios: Luis Spota, Alejandro Jodorowsky, Emilio "Indio" Fernández; Mexicali, Mexico DF, Juan Pablos Editor. P. 109-146.
Gonzalez, Házael (2011), Alejandro Jodorowsky: Danzando con la realidad, Palma de Mallorca, Dolmen Editorial.
Larouche, Michel (1985). Alexandre Jodorowsky, cinéaste panique, París, ça cinéma, Albatros.
Moldes, Diego (2012). Alejandro Jodorowsky, Madrid, Col. Signo e Imagen / Cineastas, Ediciones Cátedra. Prologue by Alejandro Jodorowsky. ISBN978-84-376-3041-0
Monteleone, Massimo (1993). La Talpa e la Fenice. Il cinema di Alejandro Jodorowsky, Bologna, Granata Press.
Neustadt, Robert. Alejandro Jodorowsky: Reiterating Chaos, Rattling the Cage of Representation. Chasqui. May 1997, 26 (1): 56–74. JSTOR 29741325.
^David Church. Alejandro Jodorowsky. Senses of Cinema. February 2007 [2013-10-13]. （原始内容存档于2013-10-14）. However, while Buñuel's attacks on religion are primarily confined to Catholicism, Jodorowsky not only violates but de-centres Western religious traditions by creating a hybrid amalgamation of Western, non-Western and occult beliefs. A self-described "atheist mystic", he has claimed to hate religion (for it "is killing the planet"), but he loves mysticism and occult practices like alchemy.
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