By Charles Ramírez Berg
The bandido, the harlot, the male buffoon, the feminine clown, the Latin lover, and the darkish lady—these were the defining, and demeaning, pictures of Latinos in U.S. cinema for greater than a century. during this booklet, Charles Ramírez Berg develops an leading edge concept of stereotyping that debts for the patience of such photographs in U.S. pop culture. He additionally explores how Latino actors and filmmakers have actively subverted and resisted such stereotyping.
In the 1st a part of the publication, Berg units forth his idea of stereotyping, defines the vintage stereotypes, and investigates how actors equivalent to Raúl Julia, Rosie Pérez, José Ferrer, Lupe Vélez, and Gilbert Roland have subverted stereotypical roles. within the moment half, he analyzes Hollywood's portrayal of Latinos in 3 genres: social challenge motion pictures, John Ford westerns, and technology fiction motion pictures. within the concluding part, Berg seems to be at Latino self-representation and anti-stereotyping in Mexican American border documentaries and within the characteristic motion pictures of Robert Rodríguez. He additionally offers an specific interview within which Rodríguez talks approximately his complete occupation, from Bedhead to Spy Kids, and reviews at the function of a Latino filmmaker in Hollywood and the way he attempts to subvert the system.
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The bandido, the harlot, the male buffoon, the feminine clown, the Latin lover, and the darkish lady—these were the defining, and demeaning, pictures of Latinos in U. S. cinema for greater than a century. during this publication, Charles Ramírez Berg develops an leading edge idea of stereotyping that money owed for the endurance of such photos in U.
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Additional info for Latino Images in Film: Stereotypes, Subversion, and Resistance
2. Hollywood studio ﬁlms are the dominant’s cinema. In the main they positively represent—and through their narratives and resolutions they typically endorse—the prevailing or dominant ideology. 3. This is not to say that the system is not conﬂicted. There are constant countercurrents to the dominant ideology’s mainstream ﬂow, caused mainly by the fact that very few, if any, can possibly be all the mainstream norm would have them be—monogamous, heterosexual, bourgeois, patriarchal, Protestant, white, nonethnic, healthy, bright, middle-aged capitalists who look like Tom Cruise.
Experience, contact and maturity usually erase [stereotypical] images among reasonable people,” concludes Ornelas. The ﬁrst beneﬁcial result of learning about the process of stereotyping is that this knowledge makes it easy to detect stereotypes. The second is that once a stereotype is spotted, it becomes easier to see beneath its surface and understand how and why it works. Learning not only to see the stereotypical surface but also to understand what lies beneath stereotyping is the aim of this book.
In contrast, the mediated stereotype is always public and, in the case of Hollywood cinema, has a global reach, as I discovered with those foreign Fulbright students who described el bandido so precisely. Media broadcast the in-group image of the Other indiscriminately, to in-group and out-group members alike—whoever sees the ﬁlm sees the stereotype. While there is usually some general agreement among in-group members about the rough contours of their stereotypical constructs, it could be claimed that each individual’s mental stereotype is a personal one.
Latino Images in Film: Stereotypes, Subversion, and Resistance by Charles Ramírez Berg