Gente Estudiada: Latina/O Students Confronting and Engaging Home/Community Knowledge Within/Outside Institutions of Higher Education

Total Page:16

File Type:pdf, Size:1020Kb

Gente Estudiada: Latina/O Students Confronting and Engaging Home/Community Knowledge Within/Outside Institutions of Higher Education GENTE ESTUDIADA: LATINA/O STUDENTS CONFRONTING AND ENGAGING HOME/COMMUNITY KNOWLEDGE WITHIN/OUTSIDE INSTITUTIONS OF HIGHER EDUCATION BY NORMA ANGELICA MARRUN DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Educational Policy Studies with a minor in Latina/Latino Studies in the Graduate College of the University of Illinois at Urbana-Champaign, 2015 Urbana, Illinois Doctoral Committee: Professor Cris Mayo, Chair Professor Alejandro Lugo Professor Dolores Delgado Bernal, University of Utah Associate Professor Wanda Pillow Abstract As a group, Latinas/os are transforming the demographic profile of U.S. colleges and universities. More Latinas/os are pursuing postsecondary education with a total of 69% of Latina/o high school graduates enrolling in college compared to 67% of whites (Fry & Taylor, 2013). However, data shows that Latina/o students generally graduate at lower rates compared to whites, and controversies over undocumented young people entering higher education continue. Utilizing a Chicana/Latina feminist approach, this dissertation explores the K-16 lived experiences of Latina/o youth and the ways they grapple with the contradictory nature of education, and their desire to transcend cultural, social, political, and educational boundaries. By infusing a Chicana/Latina epistemological perspective, we can better understand the complex ways Latina/o students contest and navigate the contradictory spaces of home, community, and school. This dissertation critically examines the factors that enable first-generation Latina/o students—documented or undocumented—to persist in higher education and most importantly, to graduate and encourage other community members to also aspire to higher education. A Chicana/Latina feminist ethnographic design was used, and drew upon individual in- depth interviews with ten, first-generation Latina/o college students attending public, 4-year research and teaching universities in California and Illinois, participant observations at various sites (i.e., campus events), classroom observations of Mexican American and Latina/o Studies courses, and an analysis of educational and immigration policies. In addition to their educational experiences, my project builds upon the students’ home and community knowledge, connecting these pedagogies of the home to their college success. Rather than assuming all Latina/o students deal with the same issues, this study examines the influences, challenges, and contradictions of home (family), community, and university from multiple perspectives. ii As I explored Latina/o students’ narratives of ambivalent but energetic participation in higher education, I learned that there is an untold story about the ambiguity that stems from what Gloria Anzaldúa (1999) refers to as the “new mestiza consciousness,” a consciousness that “sustains contradictions” and “turns the ambivalence into something else” (p. 101). As participants reflected on the pain and growing contradictions between their families and schooling experiences, they sought out spaces like Latina/o and Mexican American Studies courses where through inquiry, reflection, and dialogue, students made sense of opposing ideas and knowledges. These courses helped students acquire the ability to confront and navigate the contradictory spaces of home and school, as well as the language to make sense of their personal and educational experiences. My work introduces the term gente estudiada, a term used in the Latina/o community to refer to people who are college educated. I used this term, not yet part of academic discourse, to underscore the necessity of grounding our understanding of Latina/o higher education in the community that uses this term. My work draws from the resources found in Latino communities, but like Anzaldua’s call for ambiguity, I also critically analyze the very communities that provide support for Latina/o college goers. Findings highlight the ways participants used their families’ stories, dichos (popular proverbs), and consejos (advice) to share the ways they overcame challenges at home and in school. For example dichos were used to teach their children important lessons about being proactive and how to confront and overcome difficult situations in one’s life. My dissertation also examines the ambiguities that constitute undocumented students’ experiences and the ways they navigate higher education sin papeles.1 Specifically, I highlight the story of one undocumented Latina student’s activism, most notably 1 Translation: without papers or without legal documentation. iii her participation in Atlanta, Georgia where she and six other students were arrested for protesting against the Georgia Board of Regents for banning undocumented students from enrolling at the top five public universities in the state. I conclude this dissertation with recommendations for academic and student affair practitioners working to support and improve the retention rates for first-generation Latina/o students, as well as immigration advocacy. My work provides useful strategies for improving Latina/o retention by recognizing the important links between home, community, and university experiences. iv Acknowledgments First and foremost, I would like to thank and acknowledge my advisor and dissertation chair, Dr. Cris Mayo for providing critical and inspirational feedback. Thank you Cris for always reminding me to eat my vegetables! I appreciate you giving me space to grieve over the losses in my family and for helping me pick up where I left off. I will forever be grateful to my committee members for your guidance, feedback, and words of encouragement. Dr. Dolores Delgado Bernal—thank you for introducing me to Chicana/Latina feminisms and for allowing me to be a part of the Adelante program. Dr. Wanda Pillow—thank you for introducing me to feminist methodologies and for showing me how to be a reflective researcher. Prof. Alejandro Lugo— thank you for introducing me to Latina/o ethnographers y por compartir tanta sabiduría. A special thanks goes out to Karo Engstrom—thank you for your patience, warmth, and for providing such crucial feedback on my writing. Secondly, I am deeply grateful for the Latina/o students who participated in this project. They have selfishly shared their stories of hardship, courage, perseverance, and their hopes to bring about change within their families and communities through their education. My sincere thanks goes out the Department of Latina Latino Studies at UIUC and the Mexican American Studies Department at SJSU for supporting this work—gracias Alicia Rodriguez, Laura Castañeda, Dr. Richard T. Rodríguez, Prof. Julia Curry-Rodriguez, Prof. Magdalena Barrera, Kathryn Blackmer Reyes, for your support and for providing a space to conduct my interviews. To the Department of Educational Policy Studies—many thanks to Dr. James Anderson and Dr. Larry Parker for seeing my potential. To the faculty and staff in the Department of Education, Culture, and Society at the University of Utah, thank you for paving the way to UIUC. I am also indebted to my co-workers at the Bureau of Educational Research—thank you Jane Schingel, Dr. v Stafford Hood, Jaya Shoffner, Betsy Greifenkamp, Selena Douglass, Carol Villanueva-Perez, Paige Spangler, Shawn Lampkins, David Requa, and Dr. Anne Robertson (thank you for helping with my IRB). I also want to acknowledge the Ronald E. McNair Program at SJSU—Jeannine Slater, I gained the confidence and preparation to pursue graduate school. A special thanks to my McNair mentor—Prof. Marcos Pizarro for instilling in me the importance of conducting research in the service of social justice. Thanks Angela Kong for encouraging me to apply! A very special thanks to my partner Constancio Realiza Arnaldo Jr. I’m so glad we found each other in graduate school. Writing our dissertations together was so much more comforting and gratifying—especially when we would celebrate the small victories by rewarding ourselves. Thank you with all my heart for helping me find the confidence and motivation to keep writing. A special shout out goes to the Realiza clan. Many thanks to all my friends for all your support throughout the years! To all my Blacow Parque amigas, Monica and Rosa, thanks for so many great memories and for staying in touch over the years—L.L.B.P. por vida! Monica, Robert and Tommy Ravelo and Rosa and Franky Martin thank you for taking the time to visit me in the Midwest. I would like to thank my colleagues at UIUC. I feel so blessed to have met such supportive and wonderful amigas/os. I extend great appreciation to my friends Gabriela Romero (many thanks for being there for me, especially in the beginning when I didn’t know anyone and didn’t have a place to stay) and Rufina Cortez (gracias por todo tu apoyo, por aconsejarme). To my friends Judith Estrada, Jerry Díaz, (thanks for entrusting me with Esperanza), Francisca Mata, Nick Maag, Teresa Ramos, Anthony Jerry, Genevieve Clutario, Melli Velazquez, Ariana Ruiz, Berenice Sanchez, Cecilia “CC” Suarez, Jamie Singson, Mariana Martinez, Steph Rieder, Kevin Lam, and Jennifer Chung. To my writing group—Rufina Cortez, April Warren-Grice, and Ivory M. Berry—it pays off to be f’ing critical! To my Utah friends—Judith Flores Carmona vi (gracias amiga por tu generosidad), Kevin Eyraud (I’m so glad you joined our group in Dr. Norma Gonzalez’s class), Tina and Kyle Endres, Silvia Garcia, Paul Fisk, Matt Bradley (rest in peace), Wazir Jefferson, Kim and Ruth Hackford-Peer, Jo Hinsdale, Belinda Saltiban, and Barbara Kessel. Many thanks to the ones who have kept in touch and provided their support and feedback from thousands of miles away—James Battle and Ellen Correa. I also want to thank Stan Thangaraj and his family for their support and for being such positive role models. And to my special furry friends—Smokey and Rosita thanks for comforting me and for showing me so much love. Gracias chuchin por la vida! A mi madre Esperanza por inculcarme desde pequeña el valor del estudio y por apoyarme. Nena gracias por ser mi mejor amiga, mi confidente, y sobretodo por ser la mejor hermana del mundo.
Recommended publications
  • 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]
  • Historically Chingadxs: Mexican and Chicanx Film and the Ongoing Prescence of Colonial Spanish Sexual Politics
    HISTORICALLY CHINGADXS: MEXICAN AND CHICANX FILM AND THE ONGOING PRESCENCE OF COLONIAL SPANISH SEXUAL POLITICS A Thesis submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Masters of Arts in English By Luis Sanchez, B.A. Washington D.C. March 19, 2019 Copyright 2019 by Luis Sanchez All Rights Reserved ii HISTORICALLY CHINGADXS: MEXICAN AND CHICANX FILM AND THE ONGOING PRESCENCE OF COLONIAL SPANISH SEXUAL POLITICS Luis Sanchez, B.A. Thesis Advisor: Ricardo Ortiz, Ph.D. Abstract The main objective of this thesis is to gain an insight of the effects of Spanish Colonialism on Mexican/Chicano culture. More specifically, the goal of the thesis is to investigate the ways that the effects of colonialism can be found in Mexican/Chicano film. My goal was to specifically investigate the ways that Spanish ideas about Gender and Sexuality can be observed in film. In order to situate my intellectual framework, I used the first chapter to gain an insight into Spanish conceptions that center around women and masculinity. In my investigation of the films Tizoc, Blood in Blood Out and Quinceañera I discovered that Spanish ideas that center around women’s virginity and male chivalry can be observed in Mexican/Chicano films. This thesis was written with the intention of providing a unifying framework for Gender and Sexuality studies, decolonial studies and film studies with the hope of giving an alternative medium to examine Gender and Sexuality outside
    [Show full text]
  • Chicano Studies Research Center Annual Report 2018-2019 Submitted by Director Chon A. Noriega in Memory of Leobardo F. Estrada
    Chicano Studies Research Center Annual Report 2018-2019 Submitted by Director Chon A. Noriega In memory of Leobardo F. Estrada (1945-2018) 1 TABLE OF CONTENTS I. DIRECTOR’S MESSAGE 3 HIGHLIGHTS 5 II. DEVELOPMENT REPORT 8 III. ADMINISTRATION, STAFF, FACULTY, AND ASSOCIATES 11 ​ IV. ACADEMIC AND COMMUNITY RELATIONS 14 ​ V. LIBRARY AND ARCHIVE 26 ​ VI. PRESS 43 ​ VII. RESEARCH 58 ​ VIII. FACILITIES 75 ​ APPENDICES 77 ​ 2 I. DIRECTOR’S MESSAGE The UCLA Chicano Studies Research Center (CSRC) was founded in 1969 with a commitment to foster multi-disciplinary research as part of the overall mission of the university. It is one of four ethnic studies centers within the Institute of American Cultures (IAC), which reports to the UCLA Office of the Chancellor. The CSRC is also a co-founder and serves as the official archive of the Inter-University Program for Latino Research (IUPLR, est. 1983), a consortium of Latino research centers that now includes twenty-five institutions dedicated to increasing the number of scholars and intellectual leaders conducting Latino-focused research. The CSRC houses a library and special collections archive, an academic press, externally-funded research projects, community-based partnerships, competitive grant and fellowship programs, and several gift funds. It maintains a public programs calendar on campus and at local, national, and international venues. The CSRC also maintains strategic research partnerships with UCLA schools, departments, and research centers, as well as with major museums across the U.S. The CSRC holds six (6) positions for faculty that are appointed in academic departments. These appointments expand the CSRC’s research capacity as well as the curriculum in Chicana/o and Latina/o studies across UCLA.
    [Show full text]
  • BRUCE WILLIAMS, Ph.D
    BRUCE WILLIAMS, Ph.D. William Paterson University Department of Languages and Cultures Wayne, NJ 07470 (973) 720-3654 [email protected] BRIEF BIOGRAPHY Holding a Ph.D. from the University of California at Los Angeles, Bruce Williams is Professor and Graduate Director in the Department of Languages and Cultures and Co-coordinator of the program in International Cinema at the William Paterson University of New Jersey. He has published extensively in the areas of cinema history; film theory; Latin American and European cinemas, and language and cinema. His current research interests include Albanian cinema; film criticism as a tool for nation-building in North Korea and Albania; cinematic ties between Brazil and the Soviet Union; radical cinema and reception; celebrity studies, and the sociolinguistics of the cinema. EDUCATION ACADEMIC HISTORY Ph.D., 1986, The University of California at Los Angeles. Hispanic Languages and Literatures. Dissertation topic–“The Early Poetry of Murilo Mendes and the Cinema of Mário Peixoto: An Interdisciplinary Case Study.” (Dissertation director – Claude L. Hulet, Ph.D.). Major field – Brazilian cinema. Studies in Latin American (Spanish American and Brazilian) literature, Spanish and Portuguese Peninsular literature, and generative linguistics). Research on literary and cultural ties between Brazil and Eastern Europe. M.A. (with distinction), 1980, The University of California at Los Angeles. Luso-Brazilian Studies. Field of research concentration – Brazilian cinema. Course work in Brazilian and Portuguese literature, Spanish American and Spanish Peninsular literature, and generative linguistics. M.A., 1977, The University of Pennsylvania. Germanic Languages and Literatures. Field of research interest – German cinema and theatre. B.A. (summa cum laude), 1977, The University of Pennsylvania.
    [Show full text]
  • CHST 3302/22373 Spring, 2019 CHICANO CINEMA Instructor: Carlos F
    CHST 3302/22373 Spring, 2019 CHICANO CINEMA Instructor: Carlos F. Ortega R - 6 - 8:50 pm EDUC 114 [email protected] (915) 747-5946/5462 1. Course Description Chicano Cinema examines dimensions of the film industry with respect to the Chicano’s place - historically and culturally - within the genre. Since film has become a genre with cultural implications, methods have emerged enabling the student to “read” the messages shaped by those images as well as the manner in which the story is told. It is within this framework that this course is based. Questions proposed for this examination include: What area the images of Chicanos in commercial Hollywood films and how have they changed as a result of historical developments? What impact did these images have, not only on the viewing public, but on Chicanos themselves? This, however, is only one part of the story. Because of historical social movements taking place in the 1960s and 70s, Chicanos themselves began the process of reclaiming their own films, their own images, a counter- cinema, if you will. In the last thirty years an emergence of Chicano film has developed with an eye for telling stories from the perspective of this community. Chicano cinema is an interdisciplinary course that makes use of fields of cultural anthropology, sociology, film criticism, and history in order to conduct its review of how and why Chicanos have been depicted as they have. These methodologies will be used to examine how Chicanos responded to these images and in the process contributed to their self-determination and popular culture.
    [Show full text]
  • C Hicano C Inema
    C h i c a n o C i n e m a CHIC 3302 / FILM 3302 T/Th 12:00 – 1:20 pm Old Main #211 CRN: 12243 / 13681 Fall Semester – 2018 Instructor: Roberto Avant-Mier, Ph.D. Office: Cotton Memorial Bldg. #304 Phone: (915) 747.6588 Office Hours: Tue. & Thur. 8:00 am – 11:30 am (or by appointment) Email: [email protected] Required Texts: Book: Cine-Mexicans: An Introduction to Chicano Cinema Author: R. Avant-Mier & M. Lechuga Year: 2018 Publisher: Kendall Hunt Publishing Course Description: Chicano Cinema is an examination of the U.S. film industry with respect to the Chicano's role –– historically and culturally–– in the media genre. A series of films, including mainstream Hollywood (commercial) and other Chicano-made (independent) films will be screened, as well as documentary films, as part of an analysis of Chicano images and their impact on U.S. popular culture. This is an interdisciplinary course that employs analytical constructs and techniques used in cultural anthropology, sociology, film criticism, and history. This course will also review basic tenets of Chicano history, culture, politics, and identity, and apply this knowledge in understanding film/cinema as meaning-making cultural practice and for understanding the impact of mass-mediated representations of Chicano/as & “Mexicans.” Course Objectives: In this course you should, • Develop media literacy skills for better understanding popular culture and media. • Become familiar with Chicano/a Studies and develop a working vocabulary of terms and concepts that relate to Chicano/a history, identity, politics, and the Chicano/a experience. • Be exposed to Chicano/a culture and Chicano/a film as an art form, become aware of movies & films being made by and/or about Chicano/a culture, and understand and track the evolution of Chicano/a filmic expressions.
    [Show full text]
  • Guillermo Gómez-Peña's Barriopunk Performance and Postcolonial
    GUILLERMO GÓMEZ-PEÑA’S BARRIOPUNK PERFORMANCE Guillermo Gómez-Peña’s Barriopunk Performance and Postcolonial Cyborg Invasion Ashleigh Deosaran Columbia University In 1978, performance artist, Guillermo Gómez-Peña crossed the Tijuana-San Diego border on foot to attend the California Institute of the Arts. In the mid-1990s, the artist described his experience as an immigrant in the U.S. as being trapped in a “disnarrative science-fiction film.” Outlining the plot of this uncanny reality, he wrote: “The Cold War ends as the U.S. drug war begins. The South replaces the East as the new threatening otherness…The Berlin wall is abolished exactly when the United States begins to militarize its border with Mexico…Central America and Mexico move to the right…the United States invades Panama.”1 These events characterized the surreal era during which Gómez-Peña migrated from Mexico to the United States. His border crossing also aligned with key political, economic, and techno-scientific developments within and between both nations. Increasingly contentious North-South American relations were concurrent with breakthroughs in computing technology and the genesis of the World Wide Web. The rhetoric of “openness” that defined late twentieth-century global trade liberalization seemed to seep into the promotion of these new technologies, which were branded as free from identity, politics, geographic borders, and bodily limitations. However, the new cyber frontier was inaccessible for many in the global south who were kept out by national, technological, and political barriers. In the early 1980s, many Latin American countries including Chile and Mexico, encountered a period of precipitous economic decline referred to as the “lost decade.” As the Mexican economy stagnated and national debt grew, workers were under pressure to immigrate to North America.
    [Show full text]
  • Coalitions and Counternarratives to SB 1070 DISSERTATION
    Creating Resistance on the Border: Coalitions and Counternarratives to S.B. 1070 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Denise Ann Fuller Graduate Program in Women's Studies The Ohio State University 2017 Dissertation Committee: Mary Thomas, Advisor Guisela Latorre Theresa Delgadillo Copyrighted by Denise Ann Fuller 2017 Abstract With the passing of Arizona’s immigration bill S.B. 1070, the controversial “Papers Please” law ignited strong responses from its supporters and detractors. This dissertation focuses on the resistance to Arizona’s law by examining the role of artists in the protest movement. This dissertation examines films, both documentary and narrative; songs and their accompanying music videos; and the Sound Strike boycott of Arizona begun by prominent musicians in order to explore the discourse utilized by these groups in their protest of S.B. 1070. Through an analysis of visuals, narrative structure, lyrics, Facebook posts, and public press conferences, this dissertation argues that these creative productions change the discourse around immigration and undocumented immigrants. Focusing on undocumented immigrants as laborers, parents, and children, these artistic forms of protest create a counternarrative to the dangerous, violent, immigrant evoked by S.B. 1070 supporters. In film, music, and the Sound Strike boycott, artists emphasized the connection between racial profiling in S.B. 1070 to other fights against state surveillance and violence, calling for a multiracial, multiethnic coalition. This dissertation argues that the protests of S.B. 1070 show the opportunities and importance of coalitional building outside of identity groups while simultaneously recognizing that the reliance upon the heteronormative family and gender essentialism limits the protest both in coalitional opportunities and in protecting already marginalized undocumented immigrants.
    [Show 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.
    [Show full text]
  • Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565 (925) 439-2181
    Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565 (925) 439-2181 Course Title: Chicano/a Mexican American Cinema: A Critical Analysis Subject Area/Course Number: DRAMA-030 New Course OR Existing Course Instructor(s)/Author(s): Josephine A. Perry Subject Area/Course No.: DRAMA-030 Units: 3 Course Name/Title: Chicano/a Mexican American Cinema: A Critical Analysis Discipline(s): Drama/Theater Arts, Film Studies, Ethnic Studies Pre-Requisite(s): None Co-Requisite(s): None Advisories: English 100 Catalog Description: DRAMA-030 is a critical approach to the study of Chicano/a cinema. It utilizes film screenings, lectures, classroom discussions, and readings to facilitate the study of film as both an artistic form as well as an expression of Chicano/a historical, political and social movements in the United States and to explore the ethical values examined and expressed in Chicano/a movies. Schedule Description: Explore the Chicano-Mexican American experience through films created about Mexican Americans as well as films created by Mexican Americans in the 20th and 21st centuries. You will journey on an epic adventure through a variety of subjects and genres such as dramas, comedies and documentaries. These films help you to understand and experience the journey that various Mexican American individuals and groups have taken to arrive at the 21st century in the United States. You will come to appreciate and acknowledge the far reaching effects of Mexican Americans on both the broader culture and the socio/political
    [Show full text]
  • Activist Media and Biopolitics. Critical Media Interventions in the Age Of
    EDITED VOLUME SERIES innsbruck university press Wolfgang Sützl, Theo Hug (Eds.) ACTIVIST MEDIA AND BIOPOLITICS Critical Media Interventions in the Age of Biopower Wolfgang Sützl Theo Hug Institut für psychosoziale Intervention und Kommunikationsforschung, Universität Innsbruck The book is published in the framework of Fonds zur Förderung der wissenschaftlichen Forschung (FWF), Bundesministerium für Wissenschaft und Forschung (BMWF), Universität Innsbruck – Jubiläumsfonds and Hypo-Tirol Bank. © innsbruck university press, 2012 Universität Innsbruck 1st edition Copyright remains with the authors. Cover design by Victoria Hindley www.uibk.ac.at/iup ISBN 978-3-902811-04-2 CONTENTS 7 Introduction Wolfgang Sützl and Theo Hug, Editors BEYOND TACTICAL MEDIA 17 Mobile Bodies, Zones of Attention, and Tactical Media Interventions Carolyn Guertin 29 X_MSG: Unfolding Histories of Sex Work and Software in Invisible Activist Machinery Alexandra Jönsson and Cliff Hammett 39 Biopolitical Interventions in the Urban Data Space Clemens Apprich BORDERS AND BOUNDARIES 49 Off Limits: Elastic Border Regimes and the (Visual) Politics of Making Things Public Andreas Oberprantacher 67 Sexual and National Mobility-Visibility Regimes in Israel/Palestine, and How to Cross Through Them Roy Wagner 81 Sk-interfaces: Telematic and Transgenic Art’s Post-digital Turn to Materiality jan jagodzinski POLITICS 103 Virtual Suicide as Decisive Political Act Geoff Cox 117 Right Wing Activism: The Next Challenge for Alternative Media Scholarship Joshua Atkinson and Suzanne V.L.
    [Show full text]
  • Borders, Batos Locos and Barrios: Space As Signifier in Chicano Cinema
    Borders, batos locos and barrios: Space as Signifier in Chicano Cinema. Chicano cinema emerged as a tool for social and cultural change at a pivotal moment in both North American and Latin American history. The first Chicano films were screened as the Chicano Movement gained impetus, following the foundation of the Farm Worker Press under the guidance of César Chávez and the establishment of the first Chicano Theatre, El Teatro Campesino, by Luis Valdez in the mid-1960s.1 In his 1975 essay on the early years of Chicano cinema, Francisco X. Camplis suggests that a valuable model is provided by Latin American revolutionary cinema. He cites Fernando Solanas and Octavio Getino’s Toward a Third Cinema as an important signpost for Chicano filmmakers in its emphasis on creating a counter cultural cinema that represented the experiences of a previously overlooked people.2 Luis Valdez established links with Latin American filmmakers that were maintained and expanded by Jesús Salvador Treviño, the director of the first Chicano feature I am Joaquín in 1969. These links took on even greater significance when Treviño worked in tandem with Mexican cinematographers to produce his 1977 film, Raíces de sangre, which was both financed by Mexican capital and shot south of the U.S.-Mexican border.3 The filmmakers that made the first Chicano films came from very different backgrounds and experiences, yet they shared a common goal in their efforts both to represent Chicano life and to overturn years of negative stereotyping of Chicanos in film. As Chon Noriega 1 The Chicanos: Mexican American Voices, ed.
    [Show full text]