DOCSLIB.ORG

Gangs Or 'Real' Gangs: a Qualitative Media Analysis of Street Gangs Portrayed in Hollywood Films, 1960-2009 Christopher J

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Gangs Or 'Real' Gangs: a Qualitative Media Analysis of Street Gangs Portrayed in Hollywood Films, 1960-2009 Christopher J University of North Dakota UND Scholarly Commons Theses and Dissertations Theses, Dissertations, and Senior Projects January 2012 'reel' Gangs Or 'real' Gangs: A Qualitative Media Analysis Of Street Gangs Portrayed In Hollywood Films, 1960-2009 Christopher J. Przemieniecki Follow this and additional works at: https://commons.und.edu/theses Recommended Citation Przemieniecki, Christopher J., "'reel' Gangs Or 'real' Gangs: A Qualitative Media Analysis Of Street Gangs Portrayed In Hollywood Films, 1960-2009" (2012). Theses and Dissertations. 1312. https://commons.und.edu/theses/1312 This Dissertation is brought to you for free and open access by the Theses, Dissertations, and Senior Projects at UND Scholarly Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UND Scholarly Commons. For more information, please contact [email protected]. ‘REEL’ GANGS or ‘REAL’ GANGS: A QUALITATIVE MEDIA ANALYSIS of STREET GANGS PORTRAYED in HOLLYWOOD FILMS, 1960-2009 by Christopher John Przemieniecki Bachelor of Arts, Wright State University, 1992 Master of Science, Illinois State University, 1994 A Dissertation Submitted to the Graduate Faculty of the University of North Dakota In partial fulfillment of the requirements for the degree of Doctor of Philosophy Grand Forks, North Dakota August 2012 Copyright 2012 Christopher J. Przemieniecki ii iii PERMISSION Title ‘Reel’ Gangs or ‘Real’ Gangs: A Qualitative Media Analysis of Street Gangs Portrayed in Hollywood Films, 1960-2009 Department Criminal Justice Degree Doctor of Philosophy In presenting this dissertation in partial fulfillment of the requirements for a graduate degree from the University of North Dakota, I agree that the library of this University shall make it freely available for inspection. I further agree that permission for extensive copying for scholarly purposes may be granted by the professor who supervised my dissertation work or, in her absence, by the chairperson of the department or the dean of the Graduate School. It is understood that any copying or publication or other use of this dissertation or part thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of North Dakota in any scholarly use which may be made of any material in my dissertation. Christopher John Przemieniecki July 17, 2012 iv TABLE of CONTENTS LIST OF FIGURES ………………………………………………………………. xi LIST OF TABLES………………………………………………………………… xiii ACKNOWLEDGEMENTS……………………………………………………….. xiv ABSTRACT………………………………………………………………………. xvii CHAPTER I. INTRODUCTION………………………………………………… 1 Organization of Chapters………………………………….. 5 II. THE THEORECTICAL UNDERPINNINGS: SOCIAL CONSTRUCTIONISM and CINEMATIC REALISM……………. 7 Theory of Social Constructionism………………………….. 9 Theories Related to Social Reality………………….. 12 Social Constructionism and Gangs…………………. 13 Film Theory………………………………………………… 16 Genre………………………………………………... 17 Realism……………………………………………………… 19 Cinematic Realism………………………………….. 21 Cinematic Realism in ‘Street Gang’ Films….……… 26 v III. LITERATURE REVIEW: STREET GANGS, the MEDIA, and HOLLYWOOD FILMS…………………………………………….. 30 Definition of Gangs/Street Gangs…………………………… 30 Characteristics of Street Gangs and Gang Members ……………………………………….…… 36 Group/Group Size…………………………… 37 Permanence………………………………….. 37 Turf/Territory……………………………….. 38 Leadership…………………………………… 38 Graffiti (Communication)..…………………. 39 Gang Identifiers (Colors, Style of Dress, Monikers, Gang Name)……………………… 39 Negative Responses by Law Enforcement/ Community………………………………….. 41 Crimes….……………………………………. 41 Demographics of Street Gangs/Gang Members……. 43 Race/Ethnicity……………………………… 43 Gender……………………………………… 44 Age…………………………………………. 45 Location…………………………………….. 46 Gangs and the Media ……………………………………… 47 Print Media…………………………………………. 48 Sound/Audio Media………………………………… 51 New/Interactive Media……………………………… 53 Visual Media………………………………………… 53 vi History of Gang-Related Films……………………………… 56 Distinctions between ‘Gangster’ Films and ‘Street Gang’ Films…………………………………………………….…… 60 Research Related to ‘Street Gangs’ in Hollywood Films…… 61 Research Objective…………………………………………. 66 IV. METHODS…………………………………………………………. 67 Selection Process of ‘Street Gang’ Films…………………… 69 Academic Literature…………………………………. 70 New Sources…………………………………………. 70 Internet Sources……………………………………… 71 Steps in the Film Selection Process…………………………. 72 Variables, Definitions, and Coding Scheme………………… 78 Independent Variable……………………………….. 78 Dependent Variables………………………………… 78 Group/Group Size…………………………… 79 Permanence…………………………………. 79 Turf/Territory……………………………….. 79 Leadership…................................................. 80 Graffiti (Communication)..……….………… 80 Gang Identifiers (Colors, Style of Dress, Monikers, Gang Name) ……………….……. 81 Negative Reponses by Law Enforcement/Community…………………… 82 Types of Crimes…………………………….. 82 Demographic Variables ……………………………. 83 vii Race/Ethnicity……………………………… 83 Gender……………………………………… 83 Age………………………………………… 84 Location……………………………………. 84 Limitations/Delimitations…………………………………… 84 V. RESULTS and ANALYSIS OF DATA……………………….…… 87 The Emergent Themes/Patterns of ‘Street Gang’ Films…….. 87 ‘Reel’ Street Gangs Resemble ‘Real’ Street Gangs…………. 88 Characteristics of Street Gangs Portrayed in Films…. 88 Group/Group Size………………………..… 90 Permanence……………………………..…. 91 Turf/Territory…………………………….... 91 Leadership………………………………….. 93 Graffiti (Communication)………………….. 94 Gang Identifiers (Colors, Style of Dress, Monikers, Gang Name)…………………….... 96 Negative Responses by Law Enforcement/ Community………………………………..… 100 Types of Crimes…………………………..... 102 Demographic Variables……………………………. 104 Race/Ethnicity……………………………… 104 Gender …………………………………….. 105 Age………………………………………. 106 Location…………………………………… 107 viii Seeking Authenticity in ‘Reel’ Street Gangs………………... 108 Background of Director/Writer……………………… 108 Based on a True Story………………………………. 110 Using ‘Real’ Gangs and Consultants/Advisors…….. 111 Marketing of a ‘Street Gang’ Film …………………. 112 Changes in Race/Ethnicity …………………………………. 116 \ Cycles of Violence–Street Gangs as Perpetrators and Victims……………………………………………………… 121 Hollywood ‘Street Gangs’ as the Vehicle for Storytelling …. 128 Relationships/Love………………………………….. 129 Police Relations…………………………………….. 130 Race/Ethnicity Relations……………………………. 132 Class Conflicts……………………………………… 134 Social Environment/Neighborhoods……………….. 136 VI. DISCUSSION, CONCLUSIONS, and RECOMMENDATIONS .… 139 Hollywood’s Cycle of ‘Street Gang’ Films…………………. 141 Identifying Street Gangs and Their Meanings……………… 147 Cinematic Realism–Seeking Authenticity for Hollywood Images of Street Gangs..…………………………………….. 149 Social and Cinematic Changes in the Image of the Racial/Ethnic Makeup of Street Gangs……………………... 154 Moral Panics, the Super-Predator, and Street Gangs……….. 160 Conclusion………………………………………………….. 163 Recommendations for Future Research…………………….. 167 ix APPENDICES……………………………………………………………………… 169 REFERENCES ……………………………………………………………………… 184 x LIST OF FIGURES Figure Page 1. Race/Ethnicity of Gang Members, 1996-2008……………………………… 44 2. Gender of Gang Members, 1998-2007……………………………………… 45 3. Age of Gang Member, 1996-2008…………………………………………… 46 4. Distribution of Gang Membership by Area Type, 2010…………………….. 47 5. Percentage of Films Depicting Group and Group Size ……………………… 90 6. Percentage of Films Depicting Permanence of a Street Gang………………. 91 7. Percentage of Films Depicting Turf/Territorial Fights………………………. 91 8. Percentage of Films Depicting an Identifiable Leader in the Street Gang…… 93 9.1 Percentage of Films Depicting Graffiti Anywhere…………………………… 95 9.2. Percentage of Films Depicting the Tagging as a Form of Communication …. 96 10.1. Percentage of Films Featuring 'Colors' as a Gang Identifier ………………… 97 10.2. Percentage of Films Depicting ‘Style of Dress’ by Street Gangs……………. 98 10.3. Percentage of Films Using ‘Monikers’ to Distinguish Gang Members……… 98 10.4. Percentage of Films Identifying Street Gangs by Their ‘Gang Name’………. 100 10.5. Percentage of Films Depicting Negative Responses by Law Enforcement Officials and Members of the Community………………………………….... 101 11. The Number of Films that Depicted the Various Types of Crime…………… 103 12. Percentage of Street Gang Members Depicted by Race/Ethnicity ………….. 105 13. Percentage of Street Gang Members Depicted by Gender ………………….. 106 xi 14. Percentage of Street Gang Members Depicted by Age ……………………… 107 15. Percentage of ‘Street Gang’ Films by Location …………………………….. 107 16. Number of ‘Street Gang’ Films Depicting Race/Ethnicity by Decade, 1960-2009 ……………………………………………………………………. 117 xii LIST OF TABLES Tables Page 1. Street Gang’ Films Mentioned/Discussed in the Academic Literature (f >= 5)……………………………………………………………. 73 2. List of Top ‘Street Gang’ Films (based on Academic/Online Sources) in News Reports that Reported on a Films Impact/Influence on Gang Culture/Violence ……………………………………………………………… 74 3. Final List of ‘Street Gang’ Films Selected for Analysis, includes Estimated Budget, Total Domestic Lifetime (Unadjusted) Gross Income, Total Domestic (Adjusted) Gross (based on 2010 ticket sales), and Number of Releases to Theaters, 1960-2009……………………………………………… 77 4. Definitional Characteristics Observed in ‘Street Gang’ Films……………….. 89 xiii ACKNOWLEDGEMENTS The completion of this dissertation would not have been possible without the support and guidance from several individuals over the last several years. I am so thankful for all the help I have
Load more

Recommended publications
  • EE British Academy Film Awards Sunday 12 February 2017 Previous Nominations and Wins in EE British Academy Film Awards Only
    EE British Academy Film Awards Sunday 12 February 2017 Previous Nominations and Wins in EE British Academy Film Awards only. Includes this year’s nominations. Wins in bold. Years refer to year of presentation. Leading Actor Casey Affleck 1 nomination 2017: Leading Actor (Manchester by the Sea) Andrew Garfield 2 nominations 2017: Leading Actor (Hacksaw Ridge) 2011: Supporting Actor (The Social Network) Also Rising Star nomination in 2011, one nomination (1 win) at Television Awards in 2008 Ryan Gosling 1 nomination 2017: Leading Actor (La La Land) Jake Gyllenhaall 3 nominations/1 win 2017: Leading Actor (Nocturnal Animals) 2015: Leading Actor (Nightcrawler) 2006: Supporting Actor (Brokeback Mountain) Viggo Mortensen 2 nominations 2017: Leading Actor (Captain Fantastic) 2008: Leading Actor (Eastern Promises) Leading Actress Amy Adams 6 nominations 2017: Leading Actress (Arrival) 2015: Leading Actress (Big Eyes) 2014: Leading Actress (American Hustle) 2013: Supporting Actress (The Master) 2011: Supporting Actress (The Fighter) 2009: Supporting Actress (Doubt) Emily Blunt 2 nominations 2017: Leading Actress (Girl on the Train) 2007: Supporting Actress (The Devil Wears Prada) Also Rising Star nomination in 2007 and BAFTA Los Angeles Britannia Honouree in 2009 Natalie Portman 3 nominations/1 win 2017: Leading Actress (Jackie) 2011: Leading Actress (Black Swan) 2005: Supporting Actress (Closer) Meryl Streep 15 nominations / 2 wins 2017: Leading Actress (Florence Foster Jenkins) 2012: Leading Actress (The Iron Lady) 2010: Leading Actress (Julie
    [Show full text]
  • Sight & Sound Films of 2007
    Sight & Sound Films of 2007 Each year we ask a selection of our contributors - reviewers and critics from around the world - for their five films of the year. It's a very loosely policed subjective selection, based on films the writer has seen and enjoyed that year, and we don't deny them the choice of films that haven't yet reached the UK. And we don't give them much time to ponder, either - just about a week. So below you'll find the familiar and the obscure, the new and the old. From this we put together the top ten you see here. What distinguishes this particular list is that it's been drawn up from one of the best years for all-round quality I can remember. 2007 has seen some extraordinary films. So all of the films in the ten are must-sees and so are many more. Enjoy. - Nick James, Editor. 1 4 Months, 3 Weeks and 2 Days (Cristian Mungiu) 2 Inland Empire (David Lynch) 3 Zodiac (David Fincher) = 4 I’m Not There (Todd Haynes) The Lives of Others (Florian Henckel von Donnersmarck) 6 Silent Light (Carlos Reygadas) = 7 The Assassination of Jesse James by the Coward Robert Ford (Andrew Dominik) Syndromes and a Century (Apichatpong Weerasethakul) No Country for Old Men (Ethan and Joel Coen) Eastern Promises (David Cronenberg) 1 Table of Contents – alphabetical by critic Gilbert Adair (Critic and author, UK)............................................................................................4 Kaleem Aftab (Critic, The Independent, UK)...............................................................................4 Geoff Andrew (Critic
    [Show full text]
  • ZOOM- Press Kit.Docx
    PRESENTS ZOOM PRODUCTION NOTES A film by Pedro Morelli Starring Gael García Bernal, Alison Pill, Mariana Ximenes, Don McKellar Tyler Labine, Jennifer Irwin and Jason Priestley Theatrical Release Date: September 2, 2016 Run Time: 96 Minutes Rating: Not Rated Official Website: www.zoomthefilm.com Facebook: www.facebook.com/screenmediafilm Twitter: @screenmediafilm Instagram: @screenmediafilms Theater List: http://screenmediafilms.net/productions/details/1782/Zoom Trailer: www.youtube.com/watch?v=M80fAF0IU3o Publicity Contact: Prodigy PR, 310-857-2020 Alex Klenert, [email protected] Rob Fleming, [email protected] Screen Media Films, Elevation Pictures, Paris Filmes,and WTFilms present a Rhombus Media and O2 Filmes production, directed by Pedro Morelli and starring Gael García Bernal, Alison Pill, Mariana Ximenes, Don McKellar, Tyler Labine, Jennifer Irwin and Jason Priestley in the feature film ZOOM. ZOOM is a fast-paced, pop-art inspired, multi-plot contemporary comedy. The film consists of three seemingly separate but ultimately interlinked storylines about a comic book artist, a novelist, and a film director. Each character lives in a separate world but authors a story about the life of another. The comic book artist, Emma, works by day at an artificial love doll factory, and is hoping to undergo a secret cosmetic procedure. Emma’s comic tells the story of Edward, a cocky film director with a debilitating secret about his anatomy. The director, Edward, creates a film that features Michelle, an aspiring novelist who escapes to Brazil and abandons her former life as a model. Michelle, pens a novel that tells the tale of Emma, who works at an artificial love doll factory… And so it goes..
    [Show full text]
  • April 2018 82
    82 APRIL 2018 APRIL 2018 83 “ A bird-brained movie to cheer the hearts of the far right wing,” sneered Vincent Canby in the 25 July 1974 edition of The New York Times. The movie he was reviewing was Death Wish, a new crime thriller directed by Michael Winner, in which Winner’s frequent cohort, Charles Bronson, embarked on a vigilante crusade in New York, incited by the murder of his wife and rape of his daughter. And Canby wasn’t alone in his disdain. Variety called it “a poisonous incitement to do-it- yourself law enforcement”. Roger Ebert in the Chicago Sun-Times thought its message was “scary”. But Death Wish was unstoppable. In the US, the $3 million movie grossed $22 million and was followed by four sequels, two now infamous for their extreme sexual violence. The fnal one, 1994’s Death Wish V: The Face Of Death, was Bronson’s fnal big-screen role. Even without him, the series refused to die, as the fact there’s a new remake incoming attests. It has, however, taken time to arrive. In 2006, it was announced that Sylvester Stallone would star in and direct a new Death Wish; when he left the project, Joe Carnahan (The A-Team) took over. That version languished in development hell too, and is only now circling the roles of Benjamin and police making it to the screen, directed by Eli DEATHWISH (1974) chief Frank Ochoa. But time went on, Roth from Carnahan’s script and starring It could all have been very different.
    [Show full text]
  • Table of Contents
    Table of Contents PART I. Introduction 5 A. Overview 5 B. Historical Background 6 PART II. The Study 16 A. Background 16 B. Independence 18 C. The Scope of the Monitoring 19 D. Methodology 23 1. Rationale and Definitions of Violence 23 2. The Monitoring Process 25 3. The Weekly Meetings 26 4. Criteria 27 E. Operating Premises and Stipulations 32 PART III. Findings in Broadcast Network Television 39 A. Prime Time Series 40 1. Programs with Frequent Issues 41 2. Programs with Occasional Issues 49 3. Interesting Violence Issues in Prime Time Series 54 4. Programs that Deal with Violence Well 58 B. Made for Television Movies and Mini-Series 61 1. Leading Examples of MOWs and Mini-Series that Raised Concerns 62 2. Other Titles Raising Concerns about Violence 67 3. Issues Raised by Made-for-Television Movies and Mini-Series 68 C. Theatrical Motion Pictures on Broadcast Network Television 71 1. Theatrical Films that Raise Concerns 74 2. Additional Theatrical Films that Raise Concerns 80 3. Issues Arising out of Theatrical Films on Television 81 D. On-Air Promotions, Previews, Recaps, Teasers and Advertisements 84 E. Children’s Television on the Broadcast Networks 94 PART IV. Findings in Other Television Media 102 A. Local Independent Television Programming and Syndication 104 B. Public Television 111 C. Cable Television 114 1. Home Box Office (HBO) 116 2. Showtime 119 3. The Disney Channel 123 4. Nickelodeon 124 5. Music Television (MTV) 125 6. TBS (The Atlanta Superstation) 126 7. The USA Network 129 8. Turner Network Television (TNT) 130 D.
    [Show full text]
  • Read Razorcake Issue #27 As A
    t’s never been easy. On average, I put sixty to seventy hours a Yesterday, some of us had helped our friend Chris move, and before we week into Razorcake. Basically, our crew does something that’s moved his stereo, we played the Rhythm Chicken’s new 7”. In the paus- IInot supposed to happen. Our budget is tiny. We operate out of a es between furious Chicken overtures, a guy yelled, “Hooray!” We had small apartment with half of the front room and a bedroom converted adopted our battle call. into a full-time office. We all work our asses off. In the past ten years, That evening, a couple bottles of whiskey later, after great sets by I’ve learned how to fix computers, how to set up networks, how to trou- Giant Haystacks and the Abi Yoyos, after one of our crew projectile bleshoot software. Not because I want to, but because we don’t have the vomited with deft precision and another crewmember suffered a poten- money to hire anybody to do it for us. The stinky underbelly of DIY is tially broken collarbone, This Is My Fist! took to the six-inch stage at finding out that you’ve got to master mundane and difficult things when The Poison Apple in L.A. We yelled and danced so much that stiff peo- you least want to. ple with sourpusses on their faces slunk to the back. We incited under- Co-founder Sean Carswell and I went on a weeklong tour with our aged hipster dancing.
    [Show full text]
  • Lourdes Portilloâ•Žs Development of a Chicana Feminist Film Aesthetic
    San Jose State University SJSU ScholarWorks 2002-2004: 29th, 30th, & 31st Annual NACCS Annual Conference Proceedings Conferences Proceedings Apr 1st, 1:00 AM Lourdes Portillo’s Development of a Chicana Feminist Film Aesthetic: After the Earthquake, Las Madres, and Señorita Extraviada Norma A. Valenzuela Arizona State University Follow this and additional works at: https://scholarworks.sjsu.edu/naccs Valenzuela, Norma A., "Lourdes Portillo’s Development of a Chicana Feminist Film Aesthetic: After the Earthquake, Las Madres, and Señorita Extraviada" (2004). NACCS Annual Conference Proceedings. 4. https://scholarworks.sjsu.edu/naccs/2002-2004/Proceedings/4 This Conference Proceeding is brought to you for free and open access by the National Association for Chicana and Chicano Studies Archive at SJSU ScholarWorks. It has been accepted for inclusion in NACCS Annual Conference Proceedings by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. NACCS_FINAL:NACCS proceedings 3/18/09 4:10 PM Page 34 CHAPTER TWO Lourdes Portillo’s Development of a Chicana Feminist Film Aesthetic: After the Earthquake , Las Madres , and Señorita Extraviada Norma A. Valenzuela, Arizona State University In relation to Chicano cinema, film director Lourdes Portillo has broken with traditional works filmed mostly by men and has developed instead a new female perspective—one that is internationalist and questions male hegemony. In the near past, traditional cinema never gave Chicanas the roles they deserved. This was in part because Chicano filmmakers pro - duced works that centered on the 1960s Chicano Power Movement. These Chicano male films used “forms of cultural production resolutely connected to the social and political activism of the Chicano Movement.
    [Show full text]
  • Video Game Trader Magazine & Price Guide
    Winter 2009/2010 Issue #14 4 Trading Thoughts 20 Hidden Gems Blue‘s Journey (Neo Geo) Video Game Flashback Dragon‘s Lair (NES) Hidden Gems 8 NES Archives p. 20 19 Page Turners Wrecking Crew Vintage Games 9 Retro Reviews 40 Made in Japan Coin-Op.TV Volume 2 (DVD) Twinkle Star Sprites Alf (Sega Master System) VectrexMad! AutoFire Dongle (Vectrex) 41 Video Game Programming ROM Hacking Part 2 11Homebrew Reviews Ultimate Frogger Championship (NES) 42 Six Feet Under Phantasm (Atari 2600) Accessories Mad Bodies (Atari Jaguar) 44 Just 4 Qix Qix 46 Press Start Comic Michael Thomasson’s Just 4 Qix 5 Bubsy: What Could Possibly Go Wrong? p. 44 6 Spike: Alive and Well in the land of Vectors 14 Special Book Preview: Classic Home Video Games (1985-1988) 43 Token Appreciation Altered Beast 22 Prices for popular consoles from the Atari 2600 Six Feet Under to Sony PlayStation. Now includes 3DO & Complete p. 42 Game Lists! Advertise with Video Game Trader! Multiple run discounts of up to 25% apply THIS ISSUES CONTRIBUTORS: when you run your ad for consecutive Dustin Gulley Brett Weiss Ad Deadlines are 12 Noon Eastern months. Email for full details or visit our ad- Jim Combs Pat “Coldguy” December 1, 2009 (for Issue #15 Spring vertising page on videogametrader.com. Kevin H Gerard Buchko 2010) Agents J & K Dick Ward February 1, 2009(for Issue #16 Summer Video Game Trader can help create your ad- Michael Thomasson John Hancock 2010) vertisement. Email us with your requirements for a price quote. P. Ian Nicholson Peter G NEW!! Low, Full Color, Advertising Rates!
    [Show full text]
  • 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.
    [Show full text]
  • RAYMOND PRADO 2Nd UNIT DIRECTOR DGA
    RAYMOND PRADO 2nd UNIT DIRECTOR DGA www.raymondprado.com SECOND UNIT DIRECTOR DANGEROUS LIAISONS (Pilot) 3 Arts / ABC Prod: Wren Arthur, Richard LaGravenese, Erwin Stoff, Dir: Taylor Hackford Ilene Staple, Margot Lulick COMPANY TOWN (Pilot) CBS Studios/The CW Prod: Jeff Hayes, Bill Haber Dir: Taylor Hackford SOURCE CODE Summit Prod: Mark Gordon, Jordan Wynn, Hawk Koch Dir: Duncan Jones PARKER Incentive Filmed Ent. Prod: Taylor Hackford, Steve Chasman, Dir: Taylor Hackford Les Alexander THE PROPOSAL Touchstone Prod: Todd Lieberman, David Hoberman, Dir: Anne Fletcher Mary McLaglen LOVE RANCH E1 Entertainment Prod: Taylor Hackford, Lou DiBella, Marty Katz Dir: Taylor Hackford RAY Universal Pictures Prod: Taylor Hackford, Stuart Benjamin, Dir: Taylor Hackford Howard Baldwin, Karen Baldwin E-RING (Pilot) Warner Bros. TV/NBC Prod: Jerry Bruckheimer, David McKenna Dir: Taylor Hackford NUMB3RS (Pilot) Paramount Network TV/CBS Prod: Nicolas Falacci, Cheryl Heuton, Dir: Gregor Jordan Tony Scott, Ridley Scott DODGEBALL 20th Century Fox Prod: Stuart Cornfeld, Ben Stiller, Mary McLaglen Dir: Rawson Marshall Thurber TWO WEEK’S NOTICE Warner Bros. Pictures Prod: Sandra Bullock, Mary McLaglen Dir: Marc Lawrence MISS CONGENIALITY Warner Bros. Pictures Prod: Sandra Bullock, Marc Lawrence Dir: Donald Petrie GUN SHY Hollywood Pictures Prod: Sandra Bullock, Marc S. Fischer Dir: Eric Blakeney STORYBOARDS/CONCEPTS WEST SIDE STORY 20th Century Fox Prod: Rita Moreno, Kevin McCollum, Kristie Krieger Dir: Steven Spielberg VICE Annapurna Productions Prod: Will Ferrell,
    [Show full text]
  • MAGAZINE ® ISSUE 6 Where Everyone Goes for Scripts and Writers™
    DECEMBER VOLUME 17 2017 MAGAZINE ® ISSUE 6 Where everyone goes for scripts and writers™ Inside the Mind of a Thriller Writer PAGE 8 Q&A with Producer Lauren de Normandie of Status Media & Entertainment PAGE 14 FIND YOUR NEXT SCRIPT HERE! CONTENTS Contest/Festival Winners 4 Feature Scripts – FIND YOUR Grouped by Genre SCRIPTS FAST 5 ON INKTIP! Inside the Mind of a Thriller Writer 8 INKTIP OFFERS: Q&A with Producer Lauren • Listings of Scripts and Writers Updated Daily de Normandie of Status Media • Mandates Catered to Your Needs & Entertainment • Newsletters of the Latest Scripts and Writers 14 • Personalized Customer Service • Comprehensive Film Commissions Directory Scripts Represented by Agents/Managers 40 Teleplays 43 You will find what you need on InkTip Sign up at InkTip.com! Or call 818-951-8811. Note: For your protection, writers are required to sign a comprehensive release form before they place their scripts on our site. 3 WHAT PEOPLE SAY ABOUT INKTIP WRITERS “[InkTip] was the resource that connected “Without InkTip, I wouldn’t be a produced a director/producer with my screenplay screenwriter. I’d like to think I’d have – and quite quickly. I HAVE BEEN gotten there eventually, but INKTIP ABSOLUTELY DELIGHTED CERTAINLY MADE IT HAPPEN WITH THE SUPPORT AND FASTER … InkTip puts screenwriters into OPPORTUNITIES I’ve gotten through contact with working producers.” being associated with InkTip.” – ANN KIMBROUGH, GOOD KID/BAD KID – DENNIS BUSH, LOVE OR WHATEVER “InkTip gave me the access that I needed “There is nobody out there doing more to directors that I BELIEVE ARE for writers than InkTip – nobody.
    [Show full text]
  • Half Title>NEW TRANSNATIONALISMS in CONTEMPORARY LATIN AMERICAN
    <half title>NEW TRANSNATIONALISMS IN CONTEMPORARY LATIN AMERICAN CINEMAS</half title> i Traditions in World Cinema General Editors Linda Badley (Middle Tennessee State University) R. Barton Palmer (Clemson University) Founding Editor Steven Jay Schneider (New York University) Titles in the series include: Traditions in World Cinema Linda Badley, R. Barton Palmer, and Steven Jay Schneider (eds) Japanese Horror Cinema Jay McRoy (ed.) New Punk Cinema Nicholas Rombes (ed.) African Filmmaking Roy Armes Palestinian Cinema Nurith Gertz and George Khleifi Czech and Slovak Cinema Peter Hames The New Neapolitan Cinema Alex Marlow-Mann American Smart Cinema Claire Perkins The International Film Musical Corey Creekmur and Linda Mokdad (eds) Italian Neorealist Cinema Torunn Haaland Magic Realist Cinema in East Central Europe Aga Skrodzka Italian Post-Neorealist Cinema Luca Barattoni Spanish Horror Film Antonio Lázaro-Reboll Post-beur Cinema ii Will Higbee New Taiwanese Cinema in Focus Flannery Wilson International Noir Homer B. Pettey and R. Barton Palmer (eds) Films on Ice Scott MacKenzie and Anna Westerståhl Stenport (eds) Nordic Genre Film Tommy Gustafsson and Pietari Kääpä (eds) Contemporary Japanese Cinema Since Hana-Bi Adam Bingham Chinese Martial Arts Cinema (2nd edition) Stephen Teo Slow Cinema Tiago de Luca and Nuno Barradas Jorge Expressionism in Cinema Olaf Brill and Gary D. Rhodes (eds) French Language Road Cinema: Borders,Diasporas, Migration and ‘NewEurope’ Michael Gott Transnational Film Remakes Iain Robert Smith and Constantine Verevis Coming-of-age Cinema in New Zealand Alistair Fox New Transnationalisms in Contemporary Latin American Cinemas Dolores Tierney www.euppublishing.com/series/tiwc iii <title page>NEW TRANSNATIONALISMS IN CONTEMPORARY LATIN AMERICAN CINEMAS Dolores Tierney <EUP title page logo> </title page> iv <imprint page> Edinburgh University Press is one of the leading university presses in the UK.
    [Show full text]