Latin Looks: Images of Latinas and Latinos in the U.S. Media

By Clara E. Rodríguez | Go to book overview

10
Keeping It Reel? Films of the 1980s and 1990s

Clara E. Rodríguez

Chances are you cannot recall the last time you saw a Latino in the movies who was not somehow enmeshed in violence, whether as victim, villain, or cop. Violence in movies is not the exclusive domain of Latinos. Indeed, it seems to be pervasive and is cause for great concern at all levels, from local PTAs to the U.S. Congress. 1 But the now long-standing--and growing--association in the media of particularly Latino images with violence is becoming ever more obvious. This association began with the early bandidos of the silent screen; took voice in the westerns of the subsequent period; moved to urban settings in the 1960s and 1970s with images of juvenile delinquents; and continues in the 1980s and 1990s with gangs, criminals, and drug fords. Although this association has always been present, it has intensified and become more predominant in recent popular films. As in society in general, males are more often associated with crime and violence than females, but as the chapters and photos in this volume indicate, in the past other images predominated at times and prominent Latino male actors were less narrowly typecast.

Some of the best-known Latino movies of the past two decades, for example, Scarface ( 1983), Carlito's Way ( 1993), The Specialist ( 1994), American Me ( 1992), Mi Vida Loca ( 1994), El Mariachi ( 1993), and The Mambo Kings ( 1992), illustrate this strong association between Latinos and crime. Set in Latino communities, these movies often had as central to their themes, or as an unspoken backdrop, crime, drugs, and violence. This was the case whether the films were written or directed by Latinos or non-Latinos.

Scarface ( 1983), for example, was a remake of a 1932 film in which no Hispanic characters or themes appeared (the mobsters were Italian). In the 1983 version, directed by Brian DePalma, the film is set in Miami and involves Cuban, Colombian, and Bolivian drug lords. The main character is Tony Montana (played by Al Pacino), a coke-snorting Cuban refugee with few redeeming moral scruples and a blind ambi-

-180-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited page

Bookmark this page
Latin Looks: Images of Latinas and Latinos in the U.S. Media
Table of contents

Table of contents

  • Title Page iii
  • Contents v
  • Illustrations vii
  • Introduction 1
  • Notes 11
  • Part One - Latinos on Television and in the News: Absent or Misrepresented 13
  • Notes 19
  • 1: Out of the Picture 21
  • 2 - Hispanic Voices: is the Press Listening? 36
  • Notes 53
  • 3: Distorted Reality 57
  • Part Two - The Silver Screen: Stories and Stereotypes 73
  • Notes 79
  • 4: Visual Retrospective 80
  • 5: Citizen Chicano 85
  • 6 - Stereotyping in Films in General and of the Hispanic in Particular 104
  • References 119
  • 7 - Chicanas in Film: History of an Image 121
  • Notes 139
  • 8: From Assimilation to Annihilation 142
  • 9: West Side Story 164
  • 10: Keeping It Reel? Films of the 1980s and 1990s 180
  • Part Three - Creating Alternative Images: The Others" Present Themselves" 185
  • 11 - From the Margin to the Center: Puerto Rican Cinema in New York 188
  • Notes 199
  • 12: Unofficial Stories 200
  • 13: Type and Stereotype 214
  • 14 - Two Film Reviews: My Family/Mi Familia and the Perez Family 221
  • 15 - Hispanic-Oriented Media 225
  • Notes 236
  • References 236
  • Part Four - Strategies for Change 239
  • 16 - Promoting Analytical and Critical Viewing 240
  • Notes 247
  • Notes 250
  • Notes 253
  • 17 - Questions and Reflections About the Reading in This Book 254
  • 18: What We Can Do 261
  • References 271
  • About-The Book, and Editor 275
  • About the Contributors 277
  • Index 279
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen
/ 288

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Author Advanced search

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.