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Redalyc.CONTEMPORARY MAINSTREAM LATINIDAD Límite ISSN: 0718-1361 [email protected] Universidad de Tarapacá Chile Valdivia, Angharad N. CONTEMPORARY MAINSTREAM LATINIDAD: DISNEY TALES AND SPITFIRE ENDURANCE Límite, vol. 11, núm. 37, 2016, pp. 66-78 Universidad de Tarapacá Arica, Chile Available in: http://www.redalyc.org/articulo.oa?id=83648394007 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Límite. Revista Interdisciplinaria de Filosofía y Psicología Volumen 11, Nº 37, 2016, pp. 66-78 CONTEMPORARY MAINSTREAM LATINIDAD: DISNEY TALES AND SPITFIRE ENDURANCE* LATINIDAD CONTEMPORÁNEA MAINSTREAM: CUENTOS DISNEY Y PERSISTENCIA DEL (ESTEREOTIPO) SPITFIRE Angharad N. Valdivia** University of Illinois at Urbana–Champaign. Recibido octubre de 2016/Received October, 2016 Aceptado octubre de 2016/Accepted October, 2016 RESUMEN Este ensayo explora la presencia contemporánea de la Latinidad en la cultura popular mainstream de Estados Unidos. Desde dentro de la situación contemporánea de lo post-racial, post-feminista, neoliberal y de los discursos del meztizaje racial, este ensayo utiliza teorías de los estudios de medios de comunicación, mestizaje y etnicidad para investigar a las Latinas contemporáneas generadas por la industria, especialmente por Disney, y a través de sus propios esfuerzos para permanecer en la popularidad más allá del encasillamiento al estereotipo spitfire. Palabras Clave: Latinas, Latinidad, hibridez, etnicidad, post feminismo, post-racismo, neoliberalismo, raza mixta, spitfire, Disney. ABSTRACT This essay explores contemporary presence of Latinidad in mainstream US popular culture. Set within the contemporary situation of post-racial, post-feminist, neoliberal, and mixed race discourses, this essay uses theories of media studies, hybridity and eth- nicity to investigate contemporary Latinas as produced by industry, especially Disney, and through their own efforts to stay in the mainstream beyond a stereotyped spitfire typecasting. Key Words: Latinas, Latinidad, hybridity, ethnicity, post feminism, post racism, neoliberalism, mixed race, spitfire, Disney. Visual racial difference appears to confirm Ultimately, in trying to simultaneously appeal the truth of race. But because audiences to a broader female audience and a narrow read multiracial bodies differently across Latina/o audience segment, Devious Maids contexts, those bodies are a crucial site of illustrates the difficulties cable networks like confrontation with our experience of race as Lifetime experience in trying to diversify pro- always and transhistorically legible. (Nishime, gramming that will attract highly segmented 2014, p. XII). udiences, while also maintaining their larger audience base. (Báez, 2015, p. 54). * This essay was written with research assistance from Diana Leon-Boys. ** Ph.D., University of Illinois at Urbana-Champaign (Communications). Professor of Media and Cinema Studies, Affiliate of Latina/Latino Studies, Latin American and Caribbean Studies, and Gender & Women's Studies. [email protected] television suggests that identifiable Latina/o pre- The year is 2016. The two quotes above are sence is a fact. Yet Latina/os continue to appear in indicative of the complex terrain of identity and the US mainstream mostly according to stereotype representation for Latinas in mainstream media and more often in sidekick or background roles today. Mainstream media functions in an era of than as protagonists in entertainment genres. great global flows, of bodies and cultures, and Realist and fictional genres, such as news and Latinas face the challenges and opportunities that a drama, illustrate an overlap of germinal changes transnational and conglomerized mediated system with enduring tropes. In the news, other than in offers. Latina/os are present in mainstream popular Spanish language media, the issue of immigration visual culture, but the question is how and under foregrounded by the current Republican presi- what conditions. For example, Latinas are present dential candidate refocuses attention on Latina/ in both mainstream television and post-network os as illegal border crossers, and worse, as a cri- digital offerings. In legacy television —that is, the minal element —despite evidence to the contrary. historical broadcasting networks ABC, CBS, and Conversely, recent coverage of police killing black NBC in addition to newer participants CNN and males omits the many killings of Latino males Fox— the most bankable current Latina appears in similar manner as well as in the militarized in the ensemble cast mockumentary dramedy Mexican-US border. In the highly gendered and Modern Family (ABC), which continues to gather racialized space of network news programming, high ratings and accolades in the Golden Globe even highly competent and popular newscasters US television awards. Sofia Vergara, the break such as Soledad O’Brien find themselves moved out star of the series, has become the highest paid from daily programming to less regular production television star —not the highest paid Latina but the of documentaries (Stelter, 2013), although this is highest paid US television star overall. Similarly represented as an opportunity. The recent 2016 Devious Maids in Lifetime channel extends its Oscar ceremonies lacked any major nominations offering to audiences who still miss Desperate for people of color including Latina/os genera- Housewives which ran on ABC until 2012, and ting the hashtag #OscarsSoWhite, and the recent Jane the Virgin in the CW follows on the foots- Emmy Awards for primetime US television totally teps of ABC television’s Ugly Betty (2006-2010) ignored Latina/o talent in any of the top categories with a nuanced and ironic dramedy. Meanwhile (Echegaray, 2016). Digital gaming includes first in the post-network digital world of Netflix and person shooter games that position the gamer killing Hulu, original series such as Narcos, Orange is border crossing Latinos such as Ethnic Cleansing, the New Black, and East Los High contain a range White Law, and Shadow Warrior even as game of Latina/o protagonists and sidekicks. Other than scholars note that most games lack the presence these particular television shows, the Spanish of minorities including Latina/os (Nakamura & television landscape seems to be shifting as Chow-White, 2012) although industry figures Telemundo dethrones Univision as the top Spanish reveal that Latinos drive video game sales (Saylor, language network in the US, with both of them 2012). Not to be forgotten, children’s media also garnering increasing segments of the US —not becomes a terrain of contestation with attempts just the Latina/o— audience. Furthermore during to appeal to the young audience, whose choices global sports spectacles such as the World Cup and will drive the consumer economy for decades to the Olympics, even mainstream —read English- come. Never one to be left behind, in July 2016 speaking— audiences prefer Spanish language Disney launched the first Latina Disney princess, networks’ more expansive coverage. Tensions Elena of Avalor, joining the far more numerous between legacy and digital media are amplified by Eurocentric beauties in the Disney archive. This the additional tension between English and Spanish is the heterogeneous mainstream mediated terrain language media. Both of these overlapping tensions wherein Latinas are present and absent, always in result in opportunities and challenges for media highly commodified ways that seek to increase industries as well as for Latina media production, audiences and consumption to generate profits. representation, and audiences. However we cannot pretend that nothing has The above brief, and partial, overview of changed. In addition to the data derived from the some of the examples of Latina/os on mainstream 2000 Census demonstrating that Latina/os compose 68 Angharad N. Valdivia the largest minority in the US, a consistent set relies on legacy media. If the issue remains how of reports documents that the spending power of to reach desirable audiences, which in turn are Latina/os continues to grow into the multi-billion formed by cultural formations within the population, dollar range. Rationally one would assume that one logical strategy has to be reaching previously given the numbers and the spending power, in ignored segments of the audience. Potentially, a capitalist system —given that global media is developing visual mainstream culture that includes undeniably a capitalist enterprise— there would be a wide range of narratives and representations and more attention paid to this segment of the audien- therefore interpellations, including Latinas, can ce. However the growth curves of population and expand the audience base of mainstream popular spending sometimes run counter to representation culture, as Báez (2014) noted. and inclusion. Indeed, numerical analyses show To make matters more complex, post racism both representational gains and losses that com- (Squires, 2014) and post feminism (Tasker & plicate linear hopes of incremental improvement Negra, 2007) circulate as powerful discourses based on factual data showing growth curves in linked through neoliberal logics torn asunder from absolute numbers and in spending power. So in political economic reality but nonetheless presen- some ways, some of the numbers are worse now ting a recurring
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