CRN 18036 / Chicano Cinema 3302
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Transculturalism in Chicano Literature, Visual Art, and Film Master's
Transculturalism in Chicano Literature, Visual Art, and Film Master’s Thesis Presented to The Faculty of the Graduate School of Arts and Sciences Brandeis University Department of Global Studies Jerónimo Arellano, Advisor In Partial Fulfillment of the Requirements for the Degree Master of Arts in Global Studies by Sarah Mabry August 2018 Transculturalism in Chicano Literature, Visual Art, and Film Copyright by Sarah Mabry © 2018 Dedication Here I acknowledge those individuals by name and those remaining anonymous that have encouraged and inspired me on this journey. First, I would like to dedicate this to my great grandfather, Jerome Head, a surgeon, published author, and painter. Although we never had the opportunity to meet on this earth, you passed along your works of literature and art. Gleaned from your manuscript entitled A Search for Solomon, ¨As is so often the way with quests, whether they be for fish or buried cities or mountain peaks or even for money or any other goal that one sets himself in life, the rewards are usually incidental to the journeying rather than in the end itself…I have come to enjoy the journeying.” I consider this project as a quest of discovery, rediscovery, and delightful unexpected turns. I would like mention one of Jerome’s six sons, my grandfather, Charles Rollin Head, a farmer by trade and an intellectual at heart. I remember your Chevy pickup truck filled with farm supplies rattling under the backseat and a tape cassette playing Mozart’s piano sonata No. 16. This old vehicle metaphorically carried a hard work ethic together with an artistic sensibility. -
Selected Films of Interest for Chicana/O and Latino Studies in the SDSU Library Media Center
Selected Films of Interest for Chicana/o and Latino Studies In the SDSU Library Media Center Check the library catalog (the PAC) for complete information and availability of individual films. Adelante, Mujeres! National Women's History Project, 1992. "Focuses on the history of Mexican-American/Chicana women. The major themes, organizations and personalities are introduced chronologically in a tribute to the strengths and resilience of women at the center of their families, as activists in their communities and as contributors to American history." VTC-245 The American Experience : Zoot Suit Riots. Boston, Mass. : WGBH Educational Foundation : PBS Home Video, 2002. VTC-1904 Barrio Logan : Youth Voices, Community Stories. Media Arts Center San Diego, 2006 "… a storytelling project that helps sustain, support, celebrate and maintain community identity and pride in an area that is widely regarded as a center for Latino civic engagement. This project is a partnership between the City of San Diego Public Library and Media Arts Center San Diego.” DVD-2667 Bettina Gray Speaks with Luis Valdez. Films for the Humanities & Sciences, 1993. VTC-686 Beyond the Border = más allá de la frontera. Dos Vatos Production, 2001. “… with tenderness and beauty, follows the immigrant experience with Marcelo Ayala, who leaves his family on a risky journey to the United States. Beyond the Border rounds out the immigration's effect on family in Marcelo's home town of Michoacan, Mexico.” VTC-2085 Bilingualism : A True Advantage. Films for the Humanities & Sciences, 1994 “The first segment focuses on the bilingual education program at San Antonio's De Zavala Elementary school. -
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. -
Course Syllabus | ETHN 143 | Fall 2017 | Hidalgo UC San Diego
Course Syllabus | ETHN 143 | Fall 2017 | Hidalgo UC San Diego ETHN 143: Chicana/o Film and Media Studies Fall 2017 | Dr. Melissa Hidalgo TuTh 5.00-6.20pm | WLH 2114 Dear Students, Welcome to this section of ETHN 143, “Chicana/o Film and Media Studies.” My name is Melissa Hidalgo—you can call me “Profe Hidalgo” or “Dr. Hidalgo”—and I’m your instructor. I’m happy to be bacK here at UCSD teaching in Ethnic Studies. What follows is the Course Syllabus. The bullet points below contain the classroom procedures, policies, and other important ‘ground rules’ for our class. I linKed important University policies and procedures in our TritonEd pages. Please review those pages, particularly the parts about cheating (don’t do it!), student conduct, and campus emergencies. § First things first. This course is an historical survey of Chicana and Chicano media from the Chicano/a Movimiento Era (1960s) to the present. We will examine films, television, and other media forms made “by, for, and about” Chicanas/os to learn about Chicana/o history, politics, and culture in the US and in relation to other US Latina/o groups. Texts include classics such as Born in East L.A. (1987) and La Bamba (1987)—both films will celebrate their 30th anniversary this year—and more recent fan favorites liKe Selena (1997) and the OWN (Oprah Winfrey NetworK) cable television series Queen Sugar (2016-). These and other examples of Chicana/o film and media will form the core of our studies in this course. Our overall object is to consider historical, economic, social, political, cultural, and educational factors affecting Chicana/o and Latina/o access to and participation in the film industry, as well as their representations on-screen, over the past five decades. -
Chicano Cinema: ; /2 7 1 a Panoramic View IV David R
Voices of Mexico /April • June, 1995 19 I 0 1: I FM Chicano cinema: ; /2 7 1 a panoramic view IV David R. Maciel* The origins and development of an alternative cinema mid-seventies. Since then, it continues to evolve and develop Chicano narrative cinema is a very recent development in the aesthetically through increasingly compelling stories, strong business of movie-making in the United States, an industry characterization, varied genres and original and innovative that originated almost a century ago. Creatively self- narrative styles. Its evolution in filmic focus and style, which determined, full-length narrative features —written, directed covers its less than 20-year history, reflects the times in or produced by Chicanos— first received wide theatrical which the works were produced and mirrors an implied distribution as late as the 1980s. audience and community posture. As an artistic body of work, Chicano narrative cinema, The small handful of male Chicano directors, writers defined as films with substantial artistic control by and producers is largely perceived by the industry as a Chicanos, debuted only a few years earlier, in the marginal creative community with high-risk, unmarketable product. In fact, even today, Chicanos are the most * Professor in the Department of History at the University of New Mexico. under-represented ethnic group in influential positions which L.A. deportation raid in the 1930s (scene from Break of Dawn). 20 Voices of Mexico /April • lune, 1995 exert artistic control or foster cinema projects.' Not Continental Films. By the early 1980s, however, the three surprisingly, as twice a minority, Chicana filmmakers have features, along with the director, disappeared from sight. -
Zócalo Public Square :: Movies' Most Memorable Mexican-American Moments
Zócalo Public Square :: Movies’ Most Memorable Mexican-American ... http://www.zocalopublicsquare.org/2015/05/26/movies-most-memorabl... From Stand and Deliver to Giant, These Are Hollywood's Strongest Cinematic Depictions of America’s Third Largest Ethnic Group For better or for worse, when many The fight in Sarge’s Diner in Giant Americans think about Italian- Americans, they think of The Godfather. When it comes to Irish-Americans, it’s A Crossing the border, whether real Tree Grows in Brooklyn. And for or imagined Chinese-Americans, it’s The Joy Luck Club. The way people talk. The clothes The Cisco Kid and maids are only they wear. The houses they live in. What part of the story makes them cry. Film has a way of making abstract identities vivid and The dark past and diverse present tangible. of Zoot Suit So what has the silver screen been communicating to Americans about the Mexican-American experience? Mexican-Americans make up one of the largest ethnic groups in the U.S. but only a handful of mainstream films focusing on Mexican-Americans have become household names—La Bamba, Selena, and Stand and Deliver, for instance, all of which came out in a 10-year span. But Mexican-Americans were present on-screen long before that moment and played a role in the off-screen American story for even longer. In advance of the event “How Do You Film the (Mexican) American Story?”, featuring La Bamba writer and director Luis Valdez and Selena producer Moctesuma Esparza, we asked film and art scholars: What are the most prominent and memorable on-screen moments in Hollywood history that tell us something about the experience of Mexicans and Mexican- Americans in the U.S.? MAY 26, 2015 SHARE 2 of 6 5/27/2015 1:27 PM Zócalo Public Square :: Movies’ Most Memorable Mexican-American .. -
Pacific Standard Time UCLA Turns Back Clock to Birth of L.A. Art Scene
Pacific Standard Time: UCLA turns back clock to birth of L.A. art scene The story of how Los Angeles artist Johnny D. González helped launch a mural revolution in Los Angeles is a forgotten chapter in the history of Los Angeles art, but one that will come to light, thanks to the Getty Foundation’s massive arts extravaganza, Pacific Standard Time, and UCLA’s Fowler Museum where González’s contributions will be highlighted. Inspired by the Italian frescoes and classical art he saw on a European trip, the young advertising professional funneled his fervor in 1970 into a mural he designed, “The Birth of Our Art,” that was displayed for nearly 11 years over the entrance of another product of his inspiration, the East L.A. School of Mexican American Fine Arts. He set out to create a mural that he hoped would convey cultural pride among Chicanos in East Los Angeles and turn the Latino enclave into a cultural tourist destination. “We had never even heard the words ‘Chicano mural’ until we started doing our mural,” recalled González, 68. “After that, murals just started snowballing.” "The Birth of Our Art," designed by Johnny González, helped González’s untold story will unfold along with many launch a mural movement in the Chicano art community in others as part of Pacific Standard Time: Art in Los 1971. Angeles 1945-1980 (PST), a sweeping, region-wide arts initiative funded by $10 million in grants from the Getty Foundation that kicks off officially in October. Over the next six months, more than 60 cultural institutions across Southern California will contribute to this expansive multicultural, multidimensional story about how Los Angeles became a major force for artistic innovation and social change over the course of 35 years. -
CLS Movie List
CLS Movie List # 1492 Revisited This documentary provides an alternative "indigenous" perspective on the quincentenary of Columbus's arrival. It features provocative artwork from the touring national exhibition Counter Colon-Ialismo as well as challenging commentary by artists and scholars. The film also raises important questions about the nature and construction of history. Paul Espinoza, 1992 Color: 28 min. A Adelante Mujeres (2 copies) This video spans over five centuries and focuses on the history of Mexican American women and Chicanas dating from the Spanish invasion to the present. Hundreds of previously unpublished photographs, art works, and contemporary footage pay tribute to the strength and resilience of women as the center of their families, activists in their communities, and contributors to American history. National Women's History Project, 1992 Color: 30 min. After the Earthquake Before the revolution and after the earthquake, a woman from Managua unexpectedly encounters her Nicaraguan fiancé in San Francisco. The film questions the pursuit of self-serving interests in the face of larger issues, in this case the Somoza regime, and integrates political concerns with a love story. National Women's History Project, 1992 Color: 30 min. Agitating for Change: The Alliance Schools Initiative Eight years ago, many schools in Texas, like this one, were plagued by gangs, truancy, and poor academic results. Teachers were ready to try something new. Enter Ernie Cortes—a community organizer who is also disturbed by seeing kids turned off at school. Cortes formed an Alliance Schools Initiative to shake up public schools in working-class districts. The Cortes strategy was to work with churches and community activists to break down old hierarchies, to excite and empower teachers, and to reconnect schools to their communities. -
Mexican and Chicano Images in Film (CCS and LATAM 400)
Mexican and Chicano Images in Film (CCS and LATAM 400) Department of Chicana and Chicano Studies Center for Latin American Studies Spring 2016 Schedule Number for CCS 400: 20569 Schedule Number for LATAM 400: 21870 Professor Norma Iglesias-Prieto Contact information: Class Day: Monday Office Hours: Wed 12:00-15:15 PM and Tuesday 2 to 3 pm (only Class Time: 4:00 to 6:40 PM by appointment) Class Location: SH 105 Office Location: AL 398 Telephone: (619) 594-0656 E-mail: [email protected] (not through blackboard) Course Description from General Catalogue: Comparative study of images presented by Hollywood, Mexican, and Chicano cinemas. Critical analysis and discussion of projected values. Comparison of themes in film and text. General Course Description: This course is an introduction to the analysis of representations and misrepresentations of Mexicans, Latinos, and Chicanos in Hollywood Cinema. It is also an introduction to Chicano Cinema. Films will be utilized as a resource for historical, political, artistic, and cultural analysis within the multidisciplinary field of Chicana and Chicano Studies. The course emphasizes and includes a critical approach to film, utilizing textbooks and film resources. The first part of the course analyzes the way that Mexicans, Latinos, and Mexican-Americans have been depicted in Hollywood films. The second and most important part of the course covers contemporary work (1969- present) by Chicano/a and Mexican directors and producers who have been producing films about their own communities. They counteract the negative racial, ethnic, and gender stereotypes typical of Hollywood and Mexican commercial film with more accurate and complex images of their history and culture. -
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. -
David Sanchez Papers
http://oac.cdlib.org/findaid/ark:/13030/c8z3231p No online items Finding Aid for the David Sanchez Papers 1971-2012 Processed by Angel Diaz. UCLA Chicano Studies Research Center UCLA Chicano Studies Research Center 144 Haines Hall Box 951544 Los Angeles, CA 90095-1544 Phone: (310) 206-6052 Fax: (310) 206-1784 URL: http://www.chicano.ucla.edu/ ©2015 The Regents of the University of California. All rights reserved. Finding Aid for the David Sanchez 3 1 Papers 1971-2012 Descriptive Summary Title: David Sanchez Papers, Date (inclusive): 1971-2012 Collection number: 3 Creator: Sanchez, David Extent: .25 linear feet Repository: University of California, Los Angeles. Library. UCLA Chicano Studies Research Center Los Angeles, California 90095-1490 Abstract: David John Sanchez was born and raised in East Los Angeles. As a founding member of the Brown Berets, Sanchez was heavily involved with the Chicano civil and political movements of the late 1960s and 1970s. The collection consists of David Sanchez's resume, 2012 flyer for his run for the 40th District of Congress, a 1972 issue of La Causa, and a photographic print of the Brown Berets' "La Marcha de la Reconquista." The collection also includes two books by Sanchez, "Expedition Through Aztlan" and "Social Communication for Everyone." Both are located in CSRC library stacks. Researchers who would like to indicate errors of fact or omissions in this finding aid can contact the research center at www.chicano.ucla.edu This collection has been delisted from the OAC. Physical location: COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. -
The Aztlán Film Institute's Top 100 List
The Aztlán Film Institutes Top 100 List Chon A. Noriega In June 1998, on nationwide television, the American Film Institute (AFI) unveiled its list of the 100 greatest American movies. The star-studded hoopla commemorated the first 100 years of American filmmaking, with the studios teaming up, for the first time ever, to promote home video rentals and sales under the guise of historical and artistic appreciation. The AFI, which has recently lost almost all of its federal funding, has learned a valuable lesson or two from Hollywood deals, allow- ing it to continue fighting the good fight for the preservation of American film. Happy ending. But what is American film? In fact, what is film? And why should we care? For the AFI, American means Hollywood and film means popular feature-length narratives. That is why the list contains no independent films, no documentary films, no avant-garde films, no short narrative films, and precious few silent films. It also explains why the list contains no films directed by women or racial minorities. None! Quite simply, Hollywood is not an equal opportunity employer, and each year the employment numbers get a little worse. Such exclusions are of a different order than the galling absence of Erich von Stronheims Greed (192325), F. W. Murnaus Sunrise: A Song of Two Humans (1927), or any films by Joseph von Sternberg, Buster Keaton, Ernst Lubitsch, Preston Sturges, or Busby Berkeley, let alone films starring Fred Astaire and Ginger Rogers or even Jerry Lewis. These exclusions speak to the present-day market sensibilities and the middlebrow amensia that guide the AFI endeavor; but, even Aztlán 23:2 Fall 1998 1 Noriega if they were rectified, the exclusion of women and racial mi- norities would remain unchanged.1 But why should we care? Because the list is being done in our name: Americans.