Hollywood has not always been accepting of Latinas. Current stars Salma Hayek, Eva Mendes, and Penélope Cruz follow in the footsteps of pioneering Dolores Del Rio. Lauded as “The Princess of Mexico", Del Rio was a star whose allure captivated legendary figures Orson Wells, Marlon Brando, Elvis Presley, and Frida Kahlo. Fast friend Marlene Dietrich labeled Dolores, "The most beautiful woman in Hollywood. She has better legs than Dietrich and better cheekbones than Garbo". A beauty that lead to wild
actresses include Carmen Miranda, Natalie Wood, and Rita Moreno. These actresses are featured in the following films, West Side Story, Flying Down to Rio, Mexican Spitfire, and White Men Can't Jump. These two stereotypes have been carried out in American cinema from the thirties to today and are a common theme in many films. The stereotype of Latino women in American film has always been one of two; "(1) Madonna- the innocent, passive, virginal Maria; or (2) Whore- the hot-blooded, fiery, sexy Anita."
Laura Serna has written a study of the impact of the US silent film on cinematic culture, in Mexico and among Mexican migrant communities north of the border during the interwar period. As a film historian, Serna presents ideas that are both theoretically nuanced and meticulously documented. She gleans dozens of original insights from an outstanding array of primary sources from Mexico and the U.S: newspapers, magazines, distributor records, diplomatic correspondence, and minutes of city council
Deemed as Latin America’s Marlene Dietrich, Andrea Palma was a versatile theater, film and television actress in Mexico, Hollywood and Spain. Born as Guadalupe Bracho on April 16, 1903 in Durango City, Mexico, she was one of eleven children. Palma was not the only member of her family to pursue a film career during the Golden Age of Mexican Cinema . Her brothers, Julio Bracho and Jesus Bracho, were a director-writer and set designer working in the Mexican Studio System and her cousins were one of
political forces in Mexico (the upper class and the ‘bourgeoisie’/lower middle class) at around the turn of the 21st century when Nation Action Party (PAN) took control of the Mexican government. These two classes’ fixation with egotistical, or in the case of the movie, sexual demands prohibits them from realizing their full potential by working as one. In Heuser’s opinion, the car represents Mexico and Luisa embodies the possibilities of a European-style government in Mexico. Once Luisa gains command
The New Latin American Cinema emerged mostly out of the countries of Argentina, Brazil, and Mexico during a time period when there was a large amount of hot button issues, and radical revolutions in Latin America and all over the world. The 1960’s brought about a considerable volume of change and questioning within the film industry and as a result, it gave birth to playing with conventional American formulaic films. These changes allowed for Latin American filmmakers to represent their people
Because of the its machista imagery Mexican cinema has customarily placed women in a specific role as well as paint them in a very restrictive image. This is the virgin/whore dichotomy or the idea that female characters are painted as one dimensional either being good, pure, and virginal or evil
to show the injustices of Mexican-American people and the way they were being treated. Also, cinematography is used in a way to humor others and it is something that everyone can enjoy together; however, it started with theater. In Mexican-American Cinema there are many great cinematographers that came to be known to this day. With a rough start in building a name for themselves to Hollywood demanding their work. Mexican American cinematographers came to change the views of Hollywood. There are many
extremely influential and successful since the 1920s. Furthermore, the classical Hollywood cinema technique of making movies is not limited only to movies in the United States. For instance, “The Road Warrior, although an Australian film, is constructed along classical Hollywood lines” (Bordwell et al. 97). Director Alfonso Cuarón’s Y Tu Mamá También, which was produced and distributed originally in Mexico, is a coming of age story revolving around two young friends, Tenoch and Julio as they go on
Representations of immigrants on screen has been problematic since the early days of the motion picture medium. Hollywood cinema, particularly, is referential to the various lifestyles that encompass the American experience, visual representations of cultural characteristics and traditions that are the very fabric of an ethnic background. Through an American lens, a certain perception arises, which, more often than not, translate as either underrepresented or greatly exaggerated, the repercussions
who was full of the wise the life experience left, always knew about my interest in movies. She feed my vain for the art. Even though her religion, she professed Adventist of seven-day religion, didn’t let her go to the cinema, she always found the way to took me to the cinema. She and I enjoyed watch movies. We used to sit in the darkness room, with our faces illuminated from the reflection of the light which rebooted from the screen, both absorbs in the plot of the movie which made us laughed
This is one of the most important movies in the history of Mexican cinema. It may not be one of the best movies ever made in this country, but defetly it became a catapult of the movies made in mexico in the new century. It became the watershed of the movies that came. The audiences from the aztec country start believing in the new productions made in the country and this movie was the end of the new industry that has lost the support form its main audience. The process was long and started with
America Cinemas opened the summer of August 2015. The location of the theater is brilliant, surrounded by Spanish speaking individuals. That look forward to the new movies coming to the box office on the weekends. The cinema fills with life every weekend when people, gladly bring their friends and family along to enjoy a movie in Spanish. With that being said there will be a language barrier. Americans will insist that all these "Mexicans" need to learn English, because we are in America. Unfortunately
The Golden Age of Mexican cinema (1936-1959) produced great films that not only established a national identity, but also helped to spread Catholicism through movies such as Macario (1961), by Roberto Gavaldón, and Salón México (1949), by Antonio Díaz Conde. The film, Macario, follows the story of a man named Macario, a peasant who struggles with his family to survive poverty. After Macario shares with Death one of his most awaited meals, Death rewards Macario with the ability to tell who will die
Originally, Mexican music incorporated rattles, flues, drums and shell horns. Over time however, the people of Mexico altered the Spanish theatrical orchestra and made it their own. In addition to what was already being used by the Spanish, the Mexican people included trumpets, guitars, and even violins. The mariachis – or singers of the rancheras – also incorporated
when Prime Minister Indira Gandhi declared a state of emergency. During this time Indira Gandhi suspended constitutional rights and jailed thousands of political opponents. This time period was marked with uncertainty; thus, reflected in the national Cinema of the time. Sippy used his film as a means to start a dialogue and social commentary of the situation in India. This critic can be seen in the themes of nature versus culture, the encroachment of nature upon culture, and the meaning of civilization
because of what they have to face. At the time of making the film, Bemberg faced a mainstream cinema in which women were presented as a "function of male ambition" and as objects of possession, display, or currency (Bemberg in Pick 78). I, the Worst of All appeared in the 1990s, a time that we like to think is so different from the convent of 17th-centuryMexico. Bemberg shows us that it is not. Mainstream cinema never looks at women as "beings with ideas," as she says in an interview, but as empty shells
mix between native Latin Americans and European immigrant. The European culture that has integrated into the Latin American traditions has left Argentinean residents with more of a European persuasion. Like most countries south of the equator, and Mexico, Argentina is extreamly family oriented. Old traditions are still embedded into Argentina today, such as; having heads of the household, families eating together, and tight knit relationships with members in the family. Honor drives the people of
Men of the Apocalypse'…..the sequence loses nothing by being so calculatedly staged: the impact on audiences was instantaneous." This description shows the impact that Rudolph Valentino had on audiences as the original Latin Lover of the American cinema(even though he wasn't Latino.) Julio is suave and sensual throughout the film, particularly while seductively dancing the tango. Although he is portrayed as this dangerous lover who is "worshipped by his models", he is not depicted as a true hero
women, while not true due to the actual number being around to twenty to twenty-five percent; it doesn’t change the fact the ever since cinema was born, women were a vital part of it. Starting with Alice Guy-Blache who was the first woman director, starting in 1896 with the first narrative fiction film in history, La Fee Aux Choux(1896). The Silent Era of cinema had its doors open to women and they entered the industry in storm. Filmmakers like Guy-Blache, Clara Kimball Young, and Lois Weber were