DOCSLIB.ORG

Chicano/A Mexican American Cinema: a Critical Analysis Subject Area/Course Number: DRAMA-030

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Chicano/A Mexican American Cinema: a Critical Analysis Subject Area/Course Number: DRAMA-030 Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565 Course Title: Chicano/a Mexican American Cinema: A Critical Analysis Subject Area/Course Number: DRAMA-030 New Course OR Existing Course Author(s): Josephine A. Perry and Nick Garcia Subject Area/Course No.: DRAMA-30 Units: 3 Course Title: Chicano/a Mexican American Cinema: A Critical Analysis Discipline(s): Drama/Theater Arts, Film Studies Pre-Requisite(s): None Co-Requisite(s): None Advisories: Eligibility for 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 landscape throughout the United States and the world. Hrs/Mode of Instruction: Lecture: _54___ Scheduled Lab: ____ HBA Lab: ____ Composition: ____ Activity: ____ Total Hours _54___ Credit Credit Degree Applicable (DA) Grading Pass/No Pass (P/NP) Repeatability 0 Credit Non-Degree (NDA) Letter (LR) 1 Student Choice (SC) 2 3 Last date of Assessment: _______________ Cohort #: 2 Please apply for: LMC General Education Requirement(s): Ethnic/Multicultural Studies Transfer to: CSU UC IGETC Area 3B____ CSU GE Area_C2___ C-ID Number ______ Course is Baccalaureate Level: Yes No Form Revised 5-18-2016 Page 1 of 15 Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565 Course Title: Chicano/a Mexican American Cinema: A Critical Analysis Subject Area/Course Number: DRAMA-030 Signatures: Department Chair Date Librarian Date Dean (Technical Review) Date Curriculum Committee Chair Date President/Designee Date CCCCD Approval Date (Board or Chancellor's Office) Date STAND ALONE COURSE: YES NO Course approved by Curriculum Committee as Baccalaureate Level: YES NO LMC GE Requirement Approved by the Curriculum Committee: _________________ FOR OFFICE OF INSTRUCTION ONLY. DO NOT WRITE IN THE SECTION BELOW. Begin in Semester ______________ Catalog year 20____/20_____ Class Max: ________________ Dept. Code/Name:_______________ T.O.P.s Code: _____________ Crossover course 1/ 2: _____________ ESL Class: ____Yes / No________ DSPS Class: _Yes / No_____ Coop Work Exp: ___Yes / No_____ Class Code A Liberal Arts & Sciences SAM Code A Apprenticeship Remediation Level B Basic Skills B Developmental Preparatory B Advanced Occupational NBS Not Basic Skills C Adult/Secondary Basic Education C Clearly Occupational D Personal Development/Survival D Possibly Occupational E For Substantially Handicapped E* Non-Occupational F Parenting/Family Support G Community/Civic Development *Additional criteria needed H General and Cultural 1 One level below transfer I Career/Technical Education 2 Two levels below transfer J Workforce Preparation Enhanced 3 Three levels below transfer K Other non-credit enhanced Not eligible for enhanced Form Revised 5-18-2016 Page 2 of 15 Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565 Course Title: Chicano/a Mexican American Cinema: A Critical Analysis Subject Area/Course Number: DRAMA-030 Institutional Student Learning Outcomes: General Education SLOs: At the completion of the LMC general education program, a student will: 1. read critically and communicate effectively as a writer and speaker. 2. understand connections among disciplines and apply interdisciplinary approaches to problem solving. 3. think critically and creatively 4. consider the ethical implications inherent in knowledge, decision-making and action. 5. possess a worldview informed by diverse social, multicultural and global perspectives. None Program-Level Student Learning Outcomes (PSLOs): 1. To analyze, dissect, and critically evaluate a script or theatrical event or film with working knowledge of its historical, cultural, and societal origins and contexts. 2. To use strongly developed physical, vocal, and emotional foundations to build a personalized acting process for approaching a text or character in order to effectively communicate on stage or in film. 3. To understand how and be able to write, produce, direct, manage, promote, and star in a theatrical event or film. 4. To be academically and fundamentally prepared to enter the entertainment industry or transfer to a 4-year theatre or film program with an advanced standing. Course-Level Student Learning Outcomes (CSLOs): CSLO1: Critique Chicano/a; Mexican American films orally and in writing by evaluating the aesthetic, social, political, economic and artistic elements of the films (PSLO 1, 3) (GESLO 1, 2) CSLO2: Read and think critically and creatively about the political, ethical and moral value of characters, plot, setting and filmmakers of Chicano/a; Mexican American films (PSLO 1, 3) (GESLO 1, 3, 4) CSLO3: Apply a worldview informed by diverse social, multicultural and global perspective based on Chicano/a; Mexican American film analysis from different historical and geographic areas (PSLO 1, 3) (GESLO 5) Assessment Instruments: CSLO 1,2,3 Study Questions: Study questions are questions that are in response to both film viewings and related reading assignments. They cover interdisciplinary, ethical and cultural issues while asking the students to read and write critically and think creatively. For example, after reading assigned essays and viewing the film “Stand and Deliver” students are asked to respond in writing to the following questions: 1. How does the concept of "ganas" apply to this film? 2. Do you have "ganas" about anything in your life? Explain in detail and explore the long term effects such ganas might have on your life. Form Revised 5-18-2016 Page 3 of 15 Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565 Course Title: Chicano/a Mexican American Cinema: A Critical Analysis Subject Area/Course Number: DRAMA-030 3. Why isn't the calculus program set up by Mr. Escalante in operation today? 4. Do you think that Mr. Escalante is an ethical role model for a teacher? Why or why not? 5. The film shows some of Mr. Escalante's mistakes. Can you describe three of them and speculate on whether they showed a lack of character or a lack of insight into his situation or both? 6. Would you be willing to give up your mornings, afternoons, and weekends, and a good part of your summer to prove to yourself that you could learn calculus and pass the AP Calculus test? Does such a sacrifice conflict with personal and cultural values you might have? (i.e. time spent with family?) 7. Describe the corrosive (destructive) effects of the loss of self-esteem in relation to the students shown in this film. 8. One of Mr. Escalante's special qualities was that he had high expectations for his students. What is the importance of a teacher's expectations for a class? Why? Create an imaginary scenario where your ideal teacher makes a speech to his/her students on the first day of class. 9. Did Mr. Escalante do the ethical thing in going to the restaurant owned by the family of one of his female students to persuade the girl's father to allow her to attend the extra calculus classes? What is the appropriate role for a teacher when communicating with a student's family? 10. Remember the lady who was head of the math department at Garfield High School? This teacher had low expectations for her students and thought that Mr. Escalante's students had cheated. What caused her to have these attitudes? Using The Six Pillars of Character, answer these questions TRUSTWORTHINESS (Be honest; Don't deceive, cheat or steal; Be reliable -- do what you say you'll do; Have the courage to do the right thing; Build a good reputation; Be loyal -- stand by your family, friends and country) 15. The ETS was faced with strong evidence that the students had cheated. This came from their incorrect responses to Free Response Question #6 in which most of the class applied the same incorrect formula to the problem and made an identical mistake in simplifying a fraction, a type of calculation that they had been doing correctly since the 6th or 7th grade. Assume that the students cheated on Free Response Question #6, discuss the role of the law of unintended consequences in this situation. 16. Assume that the students cheated on Free Response Question #6. Describe three reasons why cheating at school is not a good idea and how this relates to the situation of the students in Mr. Escalante's class. RESPONSIBILITY (Do what you are supposed to do; Persevere: keep on trying!; Always do your best; Use self-control; Be self-disciplined; Think before you act -- consider the consequences; Be accountable for your choices) 17. Many teachers and school administrators, as well as children and parents have seen this film. Why aren't all children taking the AP Calculus test or engaging in some other specialized effort to excel? What about you, are you making some special effort in your life to excel? Form Revised 5-18-2016 Page 4 of 15 Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565 Course Title: Chicano/a Mexican American Cinema: A Critical Analysis Subject Area/Course Number: DRAMA-030 18.
Load more

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]