UC San Diego Electronic Theses and Dissertations
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Being Edward James Olmos: Culture Clash and the Portrayal of Chicano Masculinity
Studies in 20th & 21st Century Literature Volume 32 Issue 2 Theater and Performance in Nuestra Article 12 América 6-1-2008 Being Edward James Olmos: Culture Clash and the Portrayal of Chicano Masculinity Nohemy Solózano-Thompson Whitman College Follow this and additional works at: https://newprairiepress.org/sttcl Part of the Film and Media Studies Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Solózano-Thompson, Nohemy (2008) "Being Edward James Olmos: Culture Clash and the Portrayal of Chicano Masculinity," Studies in 20th & 21st Century Literature: Vol. 32: Iss. 2, Article 12. https://doi.org/ 10.4148/2334-4415.1686 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Studies in 20th & 21st Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Being Edward James Olmos: Culture Clash and the Portrayal of Chicano Masculinity Abstract This paper analyzes how Culture Clash problematizes Chicano masculinity through the manipulation of two iconic Chicano characters originally popularized by two films starring dwarE d James Olmos - the pachuco from Luis Valdez’s Zoot Suit (1981) and the portrayal of real-life math teacher Jaime Escalante in Stand and Deliver (1988). In “Stand and Deliver Pizza” (from A Bowl of Beings, 1992), Culture Clash tries to introduce new Chicano characters that can be read as masculine, and who at the same time, display alternative behaviors and characteristics, including homosexual desire. The three characters in “Stand and Deliver Pizza” represent stock icons of Chicano masculinity. -
«Itos a I Page 6 Oictif 1*Mb Television `Simpsons' Again Denied Shot at Comedy Category
Daily News L.A.LIFEThursday. February 20. 1992 Ccpyrlghl .0 1992 New tune Any way you slice it, Popeil will sing about it Page 5 Fashion Women right in style with that menswear look «itos a I Page 6 OiCtif 1*Mb Television `Simpsons' again denied shot at comedy category Page 24 Hollywood Gerald() delves sh Belle in "Beauty and the Beast" into Natalie Wood's death Highlights box: Page 25 —Streisand snubbed — 'Secret," Singleton make history Music —Caregory-by-category analysis — Let of nominees John Mellencamp — Full coverage begins on page 29 performs blah set to adoring fans Page 26 Annette Bening and Warren Beatty In "Bugsy," which led all films with 10 Oscar nominations. '12. • •• •• DAILY NEWS THLFWAY TEESUARY 20, 1992 LA. 1.11111-3 PAGE 3 .01""'N .si' ,NortN."4'6%. err ".avroe144 Page 3 Talk Line Were mar Me Academy of Motion Who could can forget the Picture Aru and Sciences folks are heartwarming story of a conniving dims Jeeping in this morning after drifter and his ever so cute "I could Wednesdays !JO a.01. command have played Annie on Broadway, if I terfirmance. had a better agent father" in "Curly But Page 3 Talk Line callers can't be Sue." The only downside of the picture was that Brian Dennehy wasn't in it. 'aught 'Winne. — }Lamy Fleckman Yen acre risk an top of the academy, North Hollywood astigating voters for slighting Barbra ;treatise!. heaping praise on "Beauty "I FK" represents the foss of and the Beam ' 'VFW" and 'The Prince S1101106 innocence and the last of the great if Tides." the films. -
Portrayal of African American English in Mainstream Media
This is the published version of the bachelor thesis: Ruiz Garcia, Laura; Tubau, Susagna, dir. Portrayal of African American English in Mainstream Media. 2016. (997 Grau en Estudis d’Anglès i de Francès) This version is available at https://ddd.uab.cat/record/165489 under the terms of the license Portrayal of African American English in Mainstream Media TFG Estudis d’Anglès i Francès Supervisor: Dr Susagna Tubau Laura Ruiz Garcia June 2016 TABLE OF CONTENTS ABSTRACT 1 1. Introduction 2 1.1. Aim and scope of the paper 2 1.2. A linguistic description of African American English 3 2. Methodology 8 3. Results and discussion 10 3.1. Syntactic features 10 3.2. Phonological features 15 3.3. Discussion 18 4. Conclusions 22 5. Bibliography 24 6. Movies and TV Shows 24 i INDEX OF TABLES AND FIGURES Table 1. Syntactic features expected to be attested (Green, 2002) 3 Table 2. Syntactic features not expected to be attested (Green, 2002) 5 Table 3. Main phonological features of African American English (Green, 2002) 8 Table 4. Instances of multiple negation markers in one single clause 10 Table 5. Instances of yes/no questions without auxiliary verb 11 Table 6. Instances of lack of 3rd person singular –s in Present Simple 12 Table 7. Instances of elimination of present copula be 12 Table 8. Instances of elimination of auxiliary be in Present Progressive 12 Table 9. Instances of substitution of auxiliary were for was in all plural persons 13 Table 10. Instances of future be going to as gonna 14 Table 11. -
Menace II Society and the 1990'S Hood Film Cycle
Kino: The Western Undergraduate Journal of Film Studies Volume 2 | Issue 1 Article 3 2011 Realer than Reel: Menace II Society and the 1990’s Hood Film Cycle Timothy J. Edwards University of Western Ontario Abstract No abstract provided. Keywords African-American cinema, Hughes Brothers, Allen Hughes, Albert Hughes, hood film Recommended Citation Edwards, Timothy J. (2011) "Realer than Reel: Menace II Society and the 1990’s Hood Film Cycle," Kino: The Western Undergraduate Journal of Film Studies: Vol. 2 : Iss. 1 , Article 3. Edwards: Realer than Real Realer than Reel: Menace II Society and the 1990s Hood Film Cycle by Timothy J. Edwards The convergence of numerous industrial and social factors in the late 1960s saw Hollywood studios for the first time invest in films produced with African-Americans as the target audience. This wave of Black-focused product eventually became known as ‘Blaxploitation’ Cinema. Blaxploitation films use cinematic devices like: location shooting, hand held camera, and sync-sound along with a showcasing of distinctly Black cultural imagery, featuring urban fashion, slang, Black nationalist politics, and of course Black popular music to create a Black ghetto chronotope which is common to all Blaxploitation films (Massood 117). While the Black ghetto chronotope has its roots in Blaxploitation, it has since become an important tool which New Black Cinema directors like the Hughes brothers further develop to depict the streets of Watts with a sharp and uncompromising sense of realism. Allen and Albert Hughes spoke of being “outraged by the Hollywood sentimentality” of the hugely successful Boyz n the Hood (1991), which was released two years before Menace II Society (1993) (Massood 162). -
N.W.A's Influence on Society
#1 N.W.A’s Influence on Society Abstract I conducted research on the influence that the musical group N.W.A had on society in the late 80’s and as well as their influence on today's society. N.W.A is very well known for having changed the music industry, and they have been a controversial group since their debut album “Straight Outta Compton” was released on August 8, 1988. The album's songs were based on the group members' personal lives. N.W.A was putting out music and rapping about topics that at the time no one would dare to do.While conducting my research I found out why they were such a controversial group in the late 80’s; till this day they are still seen as controversial. Research Questions 1. In the 80s why was this group controversial? Is N.W.A still considered controversial today? 2. Why was “F _ _ _ Tha Police” one of their most popular and well known songs? 3. What are the members of the group doing now? “Who gave it that title, gangsta rap? It’s reality rap. It’s about what’s really going on.” - Eazy-E #2 How the Group Formed ● Was formed in 1987 by Eazy-E who co-founded a record label called “Ruthless Records”. ● Eazy-E recruited Dr. Dre and Ice Cube to write for his label. ● Ice-Cube & Dr. Dre wrote a song for a different group under Ruthless Records, but they decided not to record. So Eazy, Ice, & Dre recorded “Boyz-n-the-Hood” under the group name N.W.A. -
Film Study Lecture on Boyz N the Hood (1991) Compiled by Jay Seller
Film Study lecture on Boyz N The Hood (1991) Compiled by Jay Seller Boys N the Hood, (1991) Directed by John Singleton, 113 Minutes Columbia Pictures Incorporated R-Rated Cast Furious Styles Larry Fishburne Doughboy Ice Cube Tre Styles Cuba Gooding, Jr. Brandi Nia Long Ricky Baker Morris Chestnut Mrs. Baker Tyra Ferrell Reva Styles Angela Bassett Tre age 10 Desi Arnez Hines, II Chris Redge Green Dooky Dedrick D. Gobert Credits Writer-Director John Singleton Editor Bruce Cannon Producer Steve Nicolaides Original Music score Stanley Clarke Director of Photography Charles Mills Casting Jaki Brown Art Direction Bruce Bellamy Awards for Boyz N the Hood 1992 Academy Awards, Nominated for Best Director, Best Writing, Screenplay Written Directly for the Screen John Singleton 1992 BMI Film and TV Awards, Stanley Clarke 1993 Image Award, Outstanding Motion Picture 1992 MTV Movie Awards, Best New Filmmaker, John Singleton 1992 MTV Movie Awards, Nominated, Best Movie 2002 National Film Preservation Board, USA, National Film Registry 1991 New York Film Critics Circle Award, Best New Director, John Singleton 1992 Political Film Society, USA, Peace Award 1992 Political Film Society, USA, Nominated for the Expose & Human Rights Award 1992 Writer Guild of America, USA, Best Screenplay Written Directly for the Screen, john Singleton 1992 Young Artist Awards, Outstanding Young Ensemble Cast in a Motion Picture Chapter 1: Start 1991 Biography for John Singleton Date of birth (location) 6 January 1968, Los Angeles, CA Birth name John Daniel Singleton Height 5' 6" Mini biography Son of mortgage broker Danny Singleton and pharmaceutical company sales executive Sheila Ward and raised in separate households by his unmarried parents, John Singleton attended the Filmic Writing Program at USC after graduating from high school in 1986. -
Latino Leaders Nominate 5 East LA Movies for the National Film Registry
Latino leaders nominate 5 East LA movies for the National Film Registry By Antonio Mejías-Rentas The film “Walkout” about the 1968 Chicano student protests was one of the movies nominated for inclusion in the National Film Registry. Photo by Rico Torres/HBO. East Los Angeles -- The Chicano Blowouts of March 1968, in which thousands of students at Garfield and seven other Eastside high schools walked out of their classrooms to protest unequal conditions, were featured in a 2006 film directed by Edward James Olmos titled “Walkout.” It’s one of five movies set or shot in East LA that were nominated this month to become part of the National Film Registry. The registry includes culturally significant films kept by the Library of Congress. https://www.theeastsiderla.com/...hoods/east_los_angeles/latino-leaders-nominate-5-east-la-movies-for-the-national-film-registry/ Latino leaders nominate 5 East LA movies for the National Film Registry | East LA News | theeastsiderla.com Congressmen Raul Ruiz and Joaquín Castro, members of the Hispanic Caucus, nominated a total of 25 films. According to NBC News, the nominations are part of an ongoing effort to fight Latino underrepresentation in Hollywood, which the congressmen say contribute “to the misperceptions and stereotypes about Latinos in our society.” In a letter sent to the Librarian of Congress, Castro and Ruiz said the 25 films were “selected with feedback from the public, including from Latino arts and media advocacy groups, and they reflect the diversity of Latino identities, histories, geographies, and political perspectives.” The list includes two films directed by Olmos – who is also an East LA native. -
Teaching Diversity with Film
Teaching Diversity with Film The Illinois and United States Constitutions guarantee that all people are to be treated as equals under the law. A wide range of anti-discrimination laws protect people including specific provisions against discrimination based on race, color, religion, national origin, ancestry, age, sex, marital status, disability, sexual orientation, military service or unfavorable discharge from military service. These laws extend protections to everyone in our increasingly diverse nation. We can be proud that our equal rights laws and acceptance of diversity stands as an example to other governments and societies. To enhance diversity discussions in classrooms and communities, here is a partial list of films that can be used as tools to generate discussions. Please note: Some have adult content. Teachers should review a selected movie before using in class. A Day Without A Mexican A Patch of Blue A Time to Kill Akeelah and the Bee Amistad Babe Beauty and the Beast Bend it like Beckham Billy Elliot Birth of a Nation Boys Don’t Cry Boyz 'N the Hood Brokeback Mountain Crash Dances With Wolves David and Lisa Do the Right Thing Fried Green Tomatoes Gandhi Ghosts of Mississippi Glory Hiroshima Maiden In the Heat of the Night Malcolm X Mississippi Burning Monsoon Wedding Munich My Left Foot Osama Patch Adams Philadelphia Pokahontas Radio Rain Man Real Women have Curves Remember the Titans Roots Save the Last Dance Schildler’s List Shrek Snow White Sophie’s Choice Spanglish The Color Purple The Gods Must Be Crazy The Hiding Place The Joy Luck Club Thumbelina To Kill a Mockingbird Transamerica West Side Story Wizard of Oz Young Frankenstein Visit the ABA for more diversity film titles http://www.abanet.org/publiced/resources/diversity_ae.html DIVERSITY MOVIE REVIEW ACTIVITY - View one of the movies on the list provided and write a brief review. -
An Ideological Criticism of Portrayals of Black Men in Film: an Analysis of Drumline, Dangerous Minds, Higher Learning, and Stom
AN IDEOLOGICAL CRITICISM OF PORTRAYALS OF BLACK MEN IN FILM: AN ANALYSIS OF DRUMLINE, DANGEROUS MINDS, HIGHER LEARNING, AND STOMP THE YARD A Thesis Presented to The Graduate Faculty of The University of Akron In partial Fulfillment of the requirements for the Degree Master of Communication Tessa Lizbeth Adams December, 2015 AN IDEOLOGICAL CRITICISM OF PORTRAYALS OF BLACK MEN IN FILM: AN ANALYSIS OF DRUMLINE, DANGEROUS MINDS, HIGHER LEARNING, AND STOMP THE YARD Tessa Lizbeth Adams Thesis Approved: Accepted: ____________________________ _______________________________ Advisor Interim Dean of the College Dr. Mary Triece Dr. John Green ____________________________ _______________________________ Faculty Reader Dean of the Graduate School Dr. Tang Tang Dr. Chand Midha ____________________________ _______________________________ Faculty Reader Date Dr. Andrew Rancer _____________________________ Interim School Director Dr. J. Thomas Dukes ii ACKNOWLEDGEMENTS First, I would like to thank My Lord and Savior for continuous love, strength, and the passion for writing. Thank you to my mother, father, sister, and pets for their love, support, inspiration, and fun times. Thank you to my family and friends for the constant encouragement and uplifting words. I am so appreciative. To my committee members, my advisor Dr. Mary Triece, and my faculty readers Dr. Tang Tang and Dr. Andrew Rancer: it has been an honor and a privilege to work under your direction during my time as a graduate student at The University of Akron. I would like to thank Dr. Triece for helping me to realize the full potential of my study and for helping me to make this thesis a reality. Thank you to Dr. Tang Tang and Dr. -
Denzel Washington: Notes on the Construction of a Black Matinee Idol
www.thecine-files.com DOSSIER ON FILM PERFORMANCE Denzel Washington: Notes on the Construction of a Black Matinee Idol Cynthia Baron Denzel Washington, with Albert Hall and Brazylia Kotere, in Devil in a Blue Dress (1995). Donald Bogle describes Denzel Washington as an actor who reconfigured “the concept of classic movie stardom.”1 His observation suggests that as a consequence of Washington’s career, Hollywood stardom no longer requires a link with whiteness, but can now emerge from screen performances that have “liberated black images from the shackles of ghettocentricity and neominstrelsy.”2 Washington’s body of work, which includes regular-guy roles in films such as Devil in a Blue Dress (1995), He Got Game (1998), John Q (2002), and The Taking of Pelham 123 (2009), transcends the predator-saint categories generated by white norms. As a “star performer,” Washington has come to embody a residual and alternative vision of black masculinity grounded in skill and mastery of technique.3 His performances recall the grace and proficiency of Bill Robinson, a performance mode lifted and popularized by Fred Astaire.4 Washington’s career thus provides a site for interrogating larger questions of identity and mainstream representation. Bogle’s observation that Denzel Washington reshaped “classic movie stardom” also intimates that Washington is best understood as an earlier iteration of romantic leading man, in part because his characters tend to share emotional, rather than physical intimacy with female characters. To understand that emphasis, one might recall that Washington was born in 1954, the year Brown v Board of Education made school segregation unconstitutional and the year Joseph Breen retired after twenty years as The Cine-Files 6 (Spring 2014) 2 head of Hollywood’s Production Code Administration. -
CUNNINGHAM-DISSERTATION.Pdf
Copyright by Mark Douglas Cunningham 2010 The Dissertation Committee for Mark Douglas Cunningham Certifies that this is the approved version of the following dissertation: ONCE UPON A TIME IN SOUTH CENTRAL LOS ANGELES: RACE, GENDER AND NARRATIVE IN JOHN SINGLETON’S HOOD TRILOGY Committee: S. Craig Watkins, Supervisor Mark Anthony Neal Charles Ramirez-Berg Karin G. Wilkins Helena Woodard ONCE UPON A TIME IN SOUTH CENTRAL LOS ANGELES: RACE, GENDER AND NARRATIVE IN JOHN SINGLETON’S HOOD TRILOGY by Mark Douglas Cunningham, B.S., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2010 Dedication To My Papa, Louis Douglas Cunningham, Sr. (1927-1997), who must have seen into the future when he called me Professor as a boy, and my first cousin and little sister, Heather Nicole Mitchell (1975-2010), who left us far too soon. I love and miss you. ACKNOWLEDGMENTS As I write these acknowledgements, I am reminded of something singer/actress Vanessa Williams wrote in the liner notes to her album The Sweetest Days: “I would like to be witty and clever…But I am way too tired.” That said, what the following sentiments lack in poetry, they more than make up for in sincere gratitude and reverence. I was blessed to have a most wonderful and supportive committee made up of a group of erudite and invaluable scholars that have nurtured and looked after me throughout my undergraduate and graduate years. -
Belknap Collection for the Performing Arts - the AFRICAN-AMERICAN CINEMA COLLECTION
AFRICAN-AMERICAN CINEMA CINEMA AFRICAN-AMERICAN CINEMA The history of the African-American Cinema is a harsh timeline of racism, repression and struggle contrasted with film scenes of boundless joy, hope and artistic spirit. Until recently, the study of the "separate cinema" (a phrase used by historians John Kisch and Edward Mapp to describe the segregation of the mainstream, Hollywood film community) was limited, if not totally ignored, by writers and researchers. The uphill battle by black filmmakers and performers, to achieve acceptance and respect, was an ugly blot on the pages of film history. Upon winning his Best Actor Oscar for LILLIES OF THE FIELD (1963), Sidney Poitier accepted, on behalf of the countless unsung African-American artists, by acknowledging the "long journey to this moment." This emotional, heartbreaking and inspiring journey is vividly illustrated by the latest acquisition to the Belknap Collection for the Performing Arts - THE AFRICAN-AMERICAN CINEMA COLLECTION. The valuable research material, housed in this collection, includes over 300 pressbooks (illustrated campaign and advertising catalogs sent to theatre owners), press kits (media packages including biographies, promotional essays and illustrations), programs and over 1000 photographs and slides. The journey begins with the blatant racism of D.W. Griffith's THE BIRTH OF A NATION (1915), a film respected as an epic milestone, but reviled as the blueprint for black film stereotypes that would appear throughout the 20th century. Researchers will follow African-American films through an extended period of stereotypical casting (SONG OF THE SOUTH, 1946) and will be dazzled by the glorious "All-Negro" musicals such as STORMY WEATHER (1943), ST.LOUIS BLUES (1958) and PORGY AND BESS (1959).