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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.
From El Megano and Black God, White Devil to City of God and Babel, Latin American films have a rich history. In this concise but comprehensive account, Stephen M. Hart traces Latin American cinema from its origins in 1896 to the present day, along the way providing original views of major films and mini-biographies of major film directors. Describing the broad contours of Latin American film and its connections to major historical developments, Hart guides readers through the story of how Hollywood dominance succumbed to the emergence of the Nuevo Cine Latinoamericano and how this movement has led to the “New” New Latin American Cinema of the twenty-first century. He offers a fresh analysis of the effects of major changes in film technology, revealing how paradigm shifts such as the move to digital preceded new cinematographic techniques and visions. He also looks closely at the films themselves, examining how filmmakers express their messages. Finally, he considers the decision by a group of directors to film in English, which enhanced the visibility of Latin American cinema around the world. Featuring 120 illustrations, this clear, cogent guide to the history of this region’s cinema will appeal to fans of Central Station and Like Water for Chocolate alike.
Latinos have been part of the Hollywood film industry for more than 100 years, yet beyond the remarkable success of a few, their visibility and clout have generally not reflected their significance in American society. Worse, the Latino image has suffered from widespread stereotyping in film, and performers face unjustified constraints in the kinds of roles available to them. Decade by decade from 1960 onward, this book analyzes important films made by or about Latinos, details the careers of Latino performers and filmmakers of the time, and analyzes how film portrayals of Latino characters and subjects connect with political and social trends of each decade. It discusses the role of gender, social class, and ethnicity in film portrayals and provides an overview of the diverse and dynamic Latino community in the United States, while celebrating a substantial and enduring contribution to Hollywood film history.
As the number of Latinos in the United States has been growing, making them the largest ethnic minority at the beginning of the twenty-first century, their presence in film has been increasing as well. Some Hispanic actors, like Antonio Banderas, Jennifer Lopez or Salma Hayek, have even become major stars. And Latinos have gained importance not only as actors on screen, but also behind the scenes as directors, producers and screenwriters. Has this growing influence changed their representation in Hollywood film? After a brief historical overview of the dominant images of Hispanics in American film, the author focuses on movies made since the 1980s. She explores contemporary Latino images in Hollywood film and compares them to past images, while also looking for new representations. To what extent are traditional depictions like the Latin lover, the bandit, the spitfire or the gangster still continued today? Which new representations have the Latinos in the movie industry contributed to balance the often stereotypical images of major Hollywood productions? The book is intended for people in film, media or ethnic studies and for film fans interested in Latino actors and movies.