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The bandido, the harlot, the male buffoon, the female clown, the Latin lover, and the dark lady—these have been the defining, and demeaning, images of Latinos in U.S. cinema for more than a century. In this book, Charles Ramírez Berg develops an innovative theory of stereotyping that accounts for the persistence of such images in U.S. popular culture. He also explores how Latino actors and filmmakers have actively subverted and resisted such stereotyping. In the first part of the book, Berg sets forth his theory of stereotyping, defines the classic stereotypes, and investigates how actors such as Raúl Julia, Rosie Pérez, José Ferrer, Lupe Vélez, and Gilbert Roland have subverted stereotypical roles. In the second part, he analyzes Hollywood's portrayal of Latinos in three genres: social problem films, John Ford westerns, and science fiction films. In the concluding section, Berg looks at Latino self-representation and anti-stereotyping in Mexican American border documentaries and in the feature films of Robert Rodríguez. He also presents an exclusive interview in which Rodríguez talks about his entire career, from Bedhead to Spy Kids, and comments on the role of a Latino filmmaker in Hollywood and how he tries to subvert the system.
Providing textual analysis of 12 feature films written and directed by filmmakers who explore aspects of the Chicano cultural movement, this book discusses films including Cheech and Chong's Still Smokin' (1983), El Norte (1985), and Break of Dawn (1988). The text analyzes the portrayal of Chicano, or Mexican American, identity in films by chicanos. Part historiography, part film analysis, part ethnography, this book offers a compelling story of how Chicanos challenge, subvert and create their own popular portrayals of Chicanismo. Historical stereotypical images in Hollywood films are discussed alongside contemporary images portrayed by Hollywood studios and independent Chicano filmmakers. The author examines the way in which newer films "construct new representations of Chicano culture" and present a greater variety of images of Chicanos for mainstream audiences. Originally published in 1996, this authoritative volume provides a full history of the Chicano cultural movement beginning in the 1960s as well as information on the development of Mexican American film production.
From the American Revolution to the present, the United States has enjoyed a rich and persuasive visual culture. These images have constructed, sustained, and disseminated social values and identities, but this unwieldy, sometimes untidy form of cultural expression has received less systematic attention than other modes of depicting American life. Recently, scholars in the humanities have developed a new critical approach to reading images and the cultural work they perform. This practice, American cultural iconography, is generating sophisticated analyses of how images organize our public life. The contributions to this volume exhibit the extraordinary scope and interpretive power of this interdisciplinary study while illuminating the dark corners of the nation's psyche. Drawing on such varied texts and visual media as daguerreotypes, political cartoons, tourist posters, and religious artifacts, these essays explore how pictures and words combine to teach us who we are and who we are not. They examine mimesis in elegant portraits of black Freemasons, industrial-age representations of national parks, and postwar photographs of atomic destruction. They consider how visual culture has described and disclosed the politics of racialized sexuality, whether subconsciously affirming it in the shadows of film noir or deliberately contesting it through the interethnic incest of John Sayles's Lone Star. Students of literature, film, and history will find that these essays extend the frontier of American studies. The contributors are Maurice Wallace, Dennis Berthold, Alan Trachtenberg, Shirley Samuels, Jenny Franchot, Cecelia Tichi, Eric Lott, Bryan C. Taylor, and José E. Limón.
Mexican Americans are rapidly becoming the largest minority in the United States, playing a vital role in the culture of the American Southwest and beyond. This A-to-Z guide offers comprehensive coverage of the Mexican American experience. Entries range from figures such as Corky Gonzales, Joan Baez, and Nancy Lopez to general entries on bilingual education, assimilation, border culture, and southwestern agriculture. Court cases, politics, and events such as the Delano Grape Strike all receive full coverage, while the definitions and significance of terms such as coyote and Tejano are provided in shorter entries. Taking a historical approach, this book's topics date back to the 1848 Treaty of Guadalupe Hidalgo, a radical turning point for Mexican Americans, as they lost their lands and found themselves thrust into an alien social and legal system. The entries trace Mexican Americans' experience as a small, conquered minority, their growing influence in the 20th century, and the essential roles their culture plays in the borderlands, or the American Southwest, in the 21st century.
Winner of the 2006 Thomas J. Lyon Book Award in Western American Literary Studies, presented by the Western Literature Association In The Emergence of Mexican America, John-Michael Rivera examines the cultural, political, and legal representations of Mexican Americans and the development of US capitalism and nationhood. Beginning with the Mexican-American War of 1846-1848 and continuing through the period of mass repatriation of US Mexican laborers in 1939, Rivera examines both Mexican-American and Anglo-American cultural production in order to tease out the complexities of the so-called “Mexican question.” Using historical and archival materials, Rivera's wide-ranging objects of inquiry include fiction, non-fiction, essays, treaties, legal materials, political speeches, magazines, articles, cartoons, and advertisements created by both Mexicans and Anglo Americans. Engaging and methodologically venturesome, Rivera's study is a crucial contribution to Chicano/Latino Studies and fields of cultural studies, history, government, anthropology, and literary studies.
Badmen, Bandits, and Folk Heroes is a comparative study of the literary and cinematic representation of Mexican American masculine identity from early twentieth-century adventure stories and movie Westerns through contemporary self-representations by Chicano/a writers and filmmakers. In this deeply compelling book, Juan J. Alonzo proposes a reconsideration of the early stereotypical depictions of Mexicans in fiction and film: rather than viewing stereotypes as unrelentingly negative, Alonzo presents them as part of a complex apparatus of identification and disavowal. Furthermore, Alonzo reassesses Chicano/a self-representation in literature and film, and argues that the Chicano/a expression of identity is characterized less by essentialism than by an acknowldgement of the contingent status of present-day identity formations. Alonzo opens his provocative study with a fresh look at the adventure stories of Stephen Crane and the silent Western movies of D. W. Griffith. He also investigates the conflation of the greaser, the bandit, and the Mexican revolutionary into one villainous figure in early Western movies and, more broadly, traces the development of the badman in Westerns. He newly interrogates the writings of AmŽrico Paredes regarding the makeup of Mexican masculinity, and productively trains his analytic eye on the recent films of Jim Mendiola and the contemporary poetry of Evangelina Vigil. Throughout Badmen, Bandits, and Folk Heroes, Alonzo convincingly demonstrates how fiction and films that formerly appeared one-dimensional in their treatment of Mexicans and Mexican Americans actually offer surprisingly multifarious and ambivalent representations. At the same time, his valuation of indeterminacy, contingency, and hybridity in contemporary cultural production creates new possibilities for understanding identity formation.
In its role as handbook, Hispanics and United States Film provides the best single source of information on Hispanic personalities in American film and on American films with a Hispanic focus produced from 1896 to the present time. Hundreds of films, actors, and other figures of the film industry are referenced. This informational component of the book, which provides titles, dates, and other filmographic information, is supplemented by a bibliography on the subject.
Looks at life on the Mexican border, including the ethnicity, attitudes, and place of residence of those who live there, and how they interact with other residents