Chicano Resistance in the Southwest
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La Frontera- the US Border Reflected in the Cinematic Lens David R
1 La Frontera- The U.S. Border Reflected in the Cinematic Lens David R. Maciel1 Introduction The U.S.-Mexico border/la frontera has the distinction of being the only place in the world where a highly developed country and a developing one meet and interact.2 This is an area of historical conflict, convergence, conflict, dependency, and interdependency, all types of transboundary links, as well as a society of astounding complexity and an evolving and extraordinarily rich culture. Distinct border styles of music, literature, art, media, and certainly visual practices have flourished in the region. Several of the most important cultural and artistic-oriented institutions, such as universities, research institutes, community centers, and museums are found in the border states of both countries. Beginning in the late 19th century and all the way to the present certain journalists, writers and visual artists have presented a distorted vision of the U.S. - Mexican border. The borderlands have been portrayed mostly as a lawless, rugged, and perilous area populated by settlers who sought a new life in the last frontier, but also criminals and crime fighters whose deeds became legendary. As Gordon W. Allport stated: 1 Emeritus Professor, University of New Mexico. Currently is Adjunct Professor at the Centro de Investigación y Docencia Económicas (CIDE) in Mexico City. 2 Paul Ganster and Alan Sweedler. The United States-Mexico Border Region: Implications for U.S. Security. Claremont CA: The Keck Center for International Strategic Studies, 1988. 2 [Stereotypes] aid people in simplifying their categories; they justify hostility; sometimes they serve as projection screens for our personal conflict. -
Mexican American History Resources at the Briscoe Center for American History: a Bibliography
Mexican American History Resources at the Briscoe Center for American History: A Bibliography The Briscoe Center for American History at the University of Texas at Austin offers a wide variety of material for the study of Mexican American life, history, and culture in Texas. As with all ethnic groups, the study of Mexican Americans in Texas can be approached from many perspectives through the use of books, photographs, music, dissertations and theses, newspapers, the personal papers of individuals, and business and governmental records. This bibliography will familiarize researchers with many of the resources relating to Mexican Americans in Texas available at the Center for American History. For complete coverage in this area, the researcher should also consult the holdings of the Benson Latin American Collection, adjacent to the Center for American History. Compiled by John Wheat, 2001 Updated: 2010 2 Contents: General Works: p. 3 Spanish and Mexican Eras: p. 11 Republic and State of Texas (19th century): p. 32 Texas since 1900: p. 38 Biography / Autobiography: p. 47 Community and Regional History: p. 56 The Border: p. 71 Education: p. 83 Business, Professions, and Labor: p. 91 Politics, Suffrage, and Civil Rights: p. 112 Race Relations and Cultural Identity: p. 124 Immigration and Illegal Aliens: p. 133 Women’s History: p. 138 Folklore and Religion: p. 148 Juvenile Literature: p. 160 Music, Art, and Literature: p. 162 Language: p. 176 Spanish-language Newspapers: p. 180 Archives and Manuscripts: p. 182 Music and Sound Archives: p. 188 Photographic Archives: p. 190 Prints and Photographs Collection (PPC): p. 190 Indexes: p. -
Juan Cortina Worksheet
Name Date Lone Star Legends: Unit 4 CHAPTER 13 Section 2 The Changing Face of Texas 13.2B Juan Cortina Pupil’s Edition, Mexican Folk Hero pp. 290–293 Known as the Robin Hood of the Rio Grande, Juan Nepomuceno Cortina (1824–1894) stands as a champion of Mexican civil rights in Texas. uan Cortina was born in Camargo in Tamaulipas, ranch, where he issued a proclama- JMexico, to an aristocratic family in 1824. His tion of rights for Mexican Texans. mother inherited a large cattle ranch in the Rio The proclamation called on the “sacred right of self- Grande Valley around Brownsville, where he moved preservation” and demanded justice for the oppressed as a young boy. and abused Mexican residents in the Rio Grande The War with Mexico In his early twenties, Cortina Valley. fought in the War with Mexico against the United Hot Pursuit In the following months, Cortina and States, serving as a cavalryman. After the war, he his army were pursued by forces, including the Texas moved to the north side of the Rio Grande, where he Rangers and a joint Mexican-Anglo force of militia- was charged at least twice by Texas authorities as a men. Cortina quickly defeated the latter group, cattle rustler. He was not arrested, though, and he though one of his closest lieutenants, Tomás Cabrera, remained popular with the Mexicans in the area. was captured by a town posse. Hero of the Poor After the signing of the Treaty of When the Texas Rangers got involved, they Guadalupe Hidalgo (1848), which established the quickly hanged Cabrera, fueling the fire that drove Texas boundary at the Rio Grande, Cortina rose in Cortina. -
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. -
Texas and the Civil
Texans Go to War Unit 8 Vocab Mexican Texans • The treaty of Guadalupe Hidalgo had promised all the benefits of United States citizenship to Mexican-Americans. But the federal government proved unable to keep its promises. In Texas, many Tejanos were denied the right to vote, lost their lands in court, and often found themselves persecuted, rather than protected, by officers of the law. Juan Cortina “The Robin Hood of the Rio Grande” • Juan Cortina was a Mexican Rancher who fought in Mexican-American War on the Mexican side. • After Mexico lost the war his land was divided in two. Texas authorities invalidated (taken away) many of his land claims. • "Flocks of vampires, in the guise of men," he wrote, robbed Mexicans "of their property, incarcerated, chased, murdered, and hunted them like wild beasts". •Juan Cortina believed that the rights of Tejanos were being violated throughout Texas. •Cortina carried out acts of violence against corrupt officials. His acts were called Cortina’s War. Juan •He raised a private army that defended “Tejano’s” Cortina against “Anglos” trying to take their land. • The Democrats were the dominant political party, and had Political very little competition from the Parties Whig party. -Texans would vote for southern democrats until the 1980’s! • Sam Houston, though he never joined the party, supported the Know-Nothing party which opposed immigration to the United States. Know-Nothing party flag Republican Party • 1854 Northerners created the Republican Party to stop the expansion of slavery. Southerners saw the Republican party as a threat and talk of secession increased. -
The Formation of Subjectivity in Mexican American Life Narratives
University of New Mexico UNM Digital Repository American Studies ETDs Electronic Theses and Dissertations 2-9-2011 Ghostly I(s)/Eyes: The orF mation of Subjectivity in Mexican American Life Narratives Patricia Marie Perea Follow this and additional works at: https://digitalrepository.unm.edu/amst_etds Recommended Citation Perea, Patricia Marie. "Ghostly I(s)/Eyes: The orF mation of Subjectivity in Mexican American Life Narratives." (2011). https://digitalrepository.unm.edu/amst_etds/34 This Dissertation is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in American Studies ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. i ii © 2010, Patricia Marie Perea iii DEDICATION por mi familia The smell of cedar can break the feed yard. Some days I smell nothing until she opens her chest. Her polished nails click against tarnished metal Cleek! Then the creek of the hinge and the memories open, naked and total. There. A satin ribbon curled around a ringlet of baby fine hair. And there. A red and white tassel, its threads thick and tangled. Look here. She picks up a newspaper clipping, irons out the wrinkles between her hands. I kept this. We remember this. It is ours. iv ACKNOWLEDGMENTS Until quite recently, I did not know how many years ago this dissertation began. It did not begin with my first day in the Ph.D. program at the University of New Mexico in 2000. Nor did it begin with my first day as a graduate student at the University of Texas at Austin in 1997. -
Spanish Videos Use the Find Function to Search This List
Spanish Videos Use the Find function to search this list Velázquez: The Nobleman of Painting 60 minutes, English. A compelling study of the Spanish artist and his relationship with King Philip IV, a patron of the arts who served as Velazquez’ sponsor. LLC Library – Call Number: SP 070 CALL NO. SP 070 Aguirre, The Wrath of God Director: Werner Herzog with Klaus Kinski. 1972, 94 minutes, German with English subtitles. A band of Spanish conquistadors travels into the Amazon jungle searching for the legendary city of El Dorado, but their leader’s obsessions soon turn to madness. LLC Library CALL NO. Look in German All About My Mother Director: Pedro Almodovar with Cecilia Roth, Penélope Cruz, Marisa Perdes, Candela Peña, Antonia San Juan. 1999, 102 minutes, Spanish with English subtitles. Pedro Almodovar delivers his finest film yet, a poignant masterpiece of unconditional love, survival and redemption. Manuela is the perfect mother. A hard-working nurse, she’s built a comfortable life for herself and her teenage son, an aspiring writer. But when tragedy strikes and her beloved only child is killed in a car accident, her world crumbles. The heartbroken woman learns her son’s final wish was to know of his father – the man she abandoned when she was pregnant 18 years earlier. Returning to Barcelona in search on him, Manuela overcomes her grief and becomes caregiver to a colorful extended family; a pregnant nun, a transvestite prostitute and two troubled actresses. With riveting performances, unforgettable characters and creative plot twists, this touching screwball melodrama is ‘an absolute stunner. -
Self-Guided Tour, Non-School Groups
1 MUSEUM OF SOUTH TEXAS HISTORY Self-guided tour, non-school groups August, 2012 We would like to welcome you to the Museum of South Texas History. We hope you will enjoy your time here and will learn something about the history and heritage of the area in which we live. I. The Butterfly/ Native Plants Garden: As you move toward the mesquite entry doors, we hope you notice the flowers on the west side of the walkway. They are examples of the flowers and plants native to this region that attract butterflies and birds. You pass several types of Lantana, as well as Butterfly Weed, Manzanita, Spring Mist Flower, and Vara Dulce. II. The Grand Lobby: The Grand Lobby, like the Museum building itself, echoes the “Spanish Colonial Revival” style that became widely popular in the early 20th Century. (Many original buildings in this style can still be found in the Valley.) Tile patterns in the floors, admission area, and Grand Stairway recall the heritage of Spain and Mexico. The Great Tower rises over 60 feet from the floor. Suspended from it by a hand-forged chain is a chandelier, hand-crafted of steel and copper. South Texas animal motifs decorate it. How many can you identify? There are more animals (8) worked into the metal archways across the hallway and in front of the store. Notice the metal railings, mounted in the recessed arches 12 feet above the floor. These came from the old Hidalgo County Courthouse in Edinburg. (It opened in 1910, and was torn down after the present courthouse opened in 1954.) The Grand Entry doors and the Reception Area/ Admission Area counter tops are made of mesquite wood. -
The Ballad of Gregorio Cortez' (1982) Is a Landmark of Chicano Cinema, and a Passion Project for Star Edward James Olmos
'The Ballad of Gregorio Cortez' (1982) Is A Landmark of Chicano Cinema, And A Passion Project for Star Edward James Olmos By Akiva Gottlieb Aug 21, 2018 | 10:55 AM Edward James Olmos in a scene from the 1982 movie "The Ballad of Gregorio Cortez." (Embassy Pictures) Having starred in films like “American Me,” “Selena,” “Stand and Deliver” and “Coco,” the Los Angeles-born Edward James Olmos is perhaps the most prominent Mexican American actor of his generation. But the film he is most proud of has long remained under the radar. Now, “The Ballad of Gregorio Cortez,” which helped kick-start the Chicano cinema movement on its release in 1982, is finally ready for its close-up. latimes.com/entertainment/movies/la-et-mn-gregorio-cortez20180815-story.html Recently restored by the Academy of Motion Picture Arts and Sciences, the morally complex, socially conscious English- and Spanish-language western is newly available as a Criterion Collection Blu-ray and is streaming for a limited time on Filmstruck. Said Olmos: “It’s still the best film I’ve ever been a part of in my life.” “The Ballad of Gregorio Cortez,” directed by Robert M. Young, is based on historical fact. On June 12, 1901, near Gonzales, Texas, a sheriff named Morris rode out to the home of a cowhand named Gregorio Cortez, played by Olmos in the movie. Suspecting him of stealing a horse, he confronted Cortez, using an interpreter. In the conversation, the interpreter mistranslated the Spanish-speaking man’s reply, and a panicked gunfight ensued. Morris died on the scene, and the Texas Rangers set out to find the fleeing Cortez. -
Unit 7 Vocab
Unit 7 Vocab •Cession: transfer of land from one country to another •Compromise of 1850: made California a state New Mexico and Utah territories ended slavery in Washington DC enacted Fugitive Slave Law in the south •Constitution of 1845: state constitution approved by a majority of Texans in 1845 •Executive branch: part of government that carries out the laws •Fugitive Slave Law: required American citizens to help find runaway slaves •Governor: highest ranking in state government •Judicial branch: part of government that interprets the laws •Legislative branch: part of government that makes laws •Legislature: government body that has the power to make or pass laws •Lt. governor: 2nd highest ranking in state government •Manifest Destiny: obvious choice for America to move west •Texas and New Mexico Act: created Texas' present day borders and gave Texas $10 million in return for giving up claims to New Mexico •Treaty of Guadalupe Hildago: ended war with Mexico included Mexican cession (transfer of California and future states of New Mexico, Arizona, Nevada, Wyoming, Utah, and Colorado to US) •War with Mexico: fought between 1846-1848 to settle boundary disputes The State of Texas!!! "... And that claim is by the right of our manifest destiny to overspread and to possess the whole of the continent which Providence has given us for the development of the great experiment of liberty and federated self-government entrusted to us." - John L. O' Sullivan, "Manifest Destiny" editorial, New York Morning News on December 27, 1845 Manifest Destiny was the idea of the U.S. MANIFEST DESTINY expanding west to the Pacific Ocean. -
Mexican-Born Outlaw and Folk Hero After Killing a Texas Sheriff in Self-Defense, Cortez (Horse) and Yegua (Mare)
LATINOS Cortez, Gregorio GREGORIO CORTEZ Mexican-born outlaw and folk hero After killing a Texas sheriff in self-defense, Cortez (horse) and yegua (mare). Cortez had recently traded a became both a fugitive from justice and a symbol of yegua, and thus answered truthfully in Spanish when he resistance against the Anglo occupiers of land that denied trading a caballo. Hearing only the word no, Mor- had once belonged to Mexico. As a result, Cortez is a ris believed Cortez was lying and started to arrest him. In Latino folk hero whose exploits have been celebrated the ensuing struggle, Morris shot Romaldo in the mouth, in legends, ballads, and film. wounding him critically; Cortez shot and killed Morris in self-defense; and Choate escaped unharmed. Latino heritage: Mexican For the next ten days, Cortez crisscrossed roughly Born: June 22, 1875; near Matamoros, Tamaulipas, Mexico five hundred miles of southern Texas, on foot and by Died: February 28, 1916; Anson, Texas horse, skillfully avoiding capture, even though he was Also known as: Gregorio Cortez Lira pursued by an estimated three hundred lawmen. When a Area of achievement: Crime posse of eight men attacked the house where he was hid- ing on June 14, Cortez shot and killed Gonzales County EARLY LIFE sheriff Robert M. Glover. Cortez finally was captured Gregorio Cortez Lira (greh-GOH-ree-oh cohr-TEHZ on June 22 in a sheep camp just north of the Rio Grande LEE-rah) was born on a ranch in the state of Tamauli- by one Texas Ranger and one former Texas Ranger, who pas, Mexico, just south of the Rio Grande. -
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.