Dolores del Rio was frequently casted for movie roles that embodied the “exotic” and “foreign” appeal popular in the 1920s. In the silent drama film The Loves of Carmen directed by Raoul Walsh in 1927, del Rio is depicted as a Spanish gypsy, Carmen, who has the power to seduce any man. She has her heart set on Don Jose, played by Don Alvarado, and plans to win him over. Their relationship begins to take a downfall, and Carmen falls for another man--a bullfighter named Escamillo. Saddened but determined, Don Jose embarks on a journey to make Carmen his true love again. In a review submitted to the Mansfield News in 1928, the author praises and describes del Rio as a “raven haired, olive skinned sinuous limbed bit of feminine loveliness” (11). …show more content…
Dolores del Rio was considered the perfect candidate for Hollywood films incorporating the preferred aesthetic appearance of Latinx actors during the period. Because popular culture in the United States did not fully accept all aspects of Latinx communities and were often anti-black, Latinx actors--such as Dolores del Rio--were made successful because of the racism in Hollywood studios. The dissociation of Latinx actors from blackness, indigeneity, and the working class allowed Latinx actors to become successful amongst Hollywood and its …show more content…
According to the Mansfield News, Rio was considered “a real Spanish beauty” that possessed “the sexual attraction, the beauty of face, the attractiveness of figure, [and] the racial characteristics” necessary to master her role in “Carmen” (11). The word “Spanish” utilized to describe del Rio was foreign enough to appeal to U.S. audiences--who favored American whiteness--but not “too ethnic” to be associated with blackness and the working class. Del Rio’s “racial characteristics” allowed directors to view her as an “acceptable” Latina (11). Because Eurocentric beauty standards were foregrounded and idealized worldwide, Hollywood allowed del Rio to become one of the most successful Latina actresses of the decade. Dolores del Rio possessed light-skin, was white-passing, educated, and associated herself with the elite, as she had “parents of Spanish nobility” (11). Therefore, she was extremely privileged amongst her own Latinx community, who often did not hold as many advantages as she did. Although she was forced to assimilate to the social and cultural norms of the 1920s and 1930s, del Rio never fully embodied whiteness or upheld its notions. Despite the Americanization of Dolores del Rio in the movie industry, she continued to be exotified in her character roles and as a Latinx woman in
The exotification of Dolores del Rio is evident in an article published by a Photoplay issue in 1934, as she is described as possessing “golden skin, smooth as mellowed ivory and her dark, flashing eyes bespoke the lue of those maidenly ‘senoritas’ who peep at life from behind cloistered shutters… When the young man comes to call on a senorita in Mexico… he brings his guitar” (38). Through the exotification of Dolores del Rio, Hollywood found great success in the United States and in Latin America, one of the most profitable film markets in the cinematic industry. As a white-passing Latinx woman, del Rio was “more easily able to move in and out of ethnic roles” (33). Because Dolores del Rio was a Latinx woman that held “upper-class roles” and a Eurocentric standard of beauty while nonetheless, identifying with her Mexican heritage, she not only appealed to the white American public, but to Latin American audiences as well (Hershfield
In the late 1980’s to early 1990’s one women was able to break this barrier and lead the way for many other artists to come, her name; Selena Quintanilla. Though her life and career that ended sooner than expected there were qualities she possessed to be remembered and memorialized decades after her death. To this day Selena is recognized as one of the first cross over Latin artist in
Movies have also portrayed Latinas as being mainly associated with gangs, prisoners, drug dealers, wife abusers, and other violent characters. The media had learned how to exploit the criminalization of the Latin for personal gain without taking in consideration possible consequences. For example, this characterization has led to an influential structure that categorizes a group of people as criminal without even knowing the full situation. Not only was the public’s perception of Latinos affect, but law enforcement was greatly affected as well. Romero stated that a belief that was held was that Latinos only felt the desire to use a knife and to kill.
Gloria Anzaldúa's personal experience growing up in the Rio Grande Valley was inspiration for Borderlands, which was published in 1987. In this highly acclaimed work, she explores the effects of the Mexican-American border on her self-identification as mixed race, Chicana, a woman, and a lesbian. Shunned from each of these groups, Anzaldúa creates a new mestiza identity which both allows for and encourages a synthesis of disparate elements of identity into a synergistic whole. A mestiza is a woman of mixed Caucasian, Hispanic, and Native American descent. This consciousness which encourages opposition and contradiction is made necessary by the conditions created by the geographical, political, and psychological border.
Chica da Silva was an Afro-Brazilian slave born Francisca da Silva de Oliveira in 18Th century Brazil to an African mother named Maria da Costa and a Portuguese overseer named Antônio Caetano e Sá. Chica was later sold to João Fernandes de Oliveira a rich Portuguese diamond mine operator, who freed her from slavery and famously became her life long partner. Chica da Silva became known as the slave who became queen because she went from a slave to an elitist which was unheard of during her time. Chica’s life story has fascinated historians and Brazilians alike for centuries with many myths regarding her life.
Throughout “The Mexican in Fact, Fiction, and Folkore” examines the term “Mexican” as it is applied in Southwest literature and argues the Anglo society has made a conscious effort to misrepresent Mexicans (Rios 60). He states the people of Mexican descent are viewed as un-American because they are perceived as filthy, lazy, and dumb. Ricatelli adds to the conversation of Mexican stereotypes by examining the literary expressions of Chicanas and Mexicanas in the literature of both the United States and Mexico. In “The Sexual Stereotypes of The Chicana in Literature” Ricatelli explains how in Yankee literature, the Chicana is referred to as the “fat breeder, who is a baby factory” meanwhile the Mexican is described as an “amoral, lusty hot tamale” (Ricatelli 51). He makes note of these stereotypes in order to highlight the ethnocentric and nativist points of view that dominated Anglo literature.
The Bronze Screen introduced both positive and negative portrayals of Latinas and Latinos in film. While there are plenty of positive Latino roles in films, Latinos and Latinas should be included in more positive roles because the negative roles Latinos have in films cause negative stereotypes. Positive and negative representations of Latinos in films has always fluctuated throughout history, however the more negative ones seem to always overpower the good ones. The film, “The Bronze Screen”, gave many examples of the negative roles Latinos played in films throughout film history. Early films included Latino actors, however they did not always have a lead role or even a positive one.
The Myth of The Latin Woman Analysis Latin American women face challenges every single day and moment of their lives. They are strongly discriminated against in all sectors of employment, in public places, and even while just walking down the street. In her essay, "The Myth of the Latin Woman," Judith Ortiz Cofer describes her own experiences using illuminating vignettes, negative connotation, and cultural allusion to exemplify how she used the struggles in her day to day life as a Latin woman to make herself stronger. Cofer uses illuminating vignettes to illustrate the different situations she encountered as a Latina while growing up and living in America.
Similarly, in the movie El Norte one of the Chicano waiters who works in the restaurant with Enrique undergoes discrimination from the other Latino works due to what they consider his over-assimilation into U.S. culture (El
103-5). Ruiz strongly suggests that no matter what profession that Mexican women have played an important part in making history but one way or another their accounts have been kept in the dark. What sets Ruiz aside from previous historians is that, while they was fixated on male European immigrants’ creation of the American society, she proved the journey and challenges of Mexican immigrant women that contributed to developing the American and Latino American
Selena Quintanilla’s father once said, “We have to be more Mexican than the Mexicans and more American than the Americans.” In today’s society, many have encountered the challenge of not being able to be who they really are because they fear not being accepted by others, more specifically their culture. But, what happens when an individual is part of two worlds that have just as many rules? Gloria E. Anzaldúa was a Mexican-American writer and poet who made a major contribution to the fields of cultural, feminist, and queer theory. Anzaldúa identifies as a Chicana and speaks different variations of Spanish, some of which she exhibits in her works.
In the altar’s center is “a plaster image of the Virgin of Guadalupe, quarter-life size, its brown Indian face staring down on the woman” (Paredes 23). The implication of the stare is of criticism as the Virgin, symbolic of an ideal Mexican womanhood, looks down on Marcela, whose Anglo features starkly contrast with the Virgin’s, and whose actions are in opposition to the values that she represents. This carefully constructed scene is meaningful. Marcela’s lifeless body lies between the bed and the altar, and opposite to the altar is Marcela’s shrine dedicated to Hollywood movie stars. These are the visual images of the opposing forces that characterize the Mexican-American struggle for resistance against American cultural hegemony.
“The common denominator all Latinos have is that we want some respect. That 's what we 're all fighting for” - Cristina Saralegui. Judith Ortiz Cofer published the article, “The Myth of the Latin Woman,” where she expresses her anger towards stereotypes, inequality, and degradation of Latin Americans. Cofer explains the origins of these perceived views and proceeds to empower Latin American women to champion over them. Cofer establishes her credibility as a Latin American woman with personal anecdotes that emphasize her frustration of the unfair depiction of Latinos in society.
In "The Myth of the Latin Woman", Ortiz Cofer utilizes logos to speak to her audiences presence of mind, particularly by referring to cases from her life. In the story, she demonstrates to us readers that as a result of a Latina 's decision to wear "tight skirts and jingling wrist trinkets… " (Ortiz Cofer), and in addition red instead of pale pink, they are characteristically thought of as searing sex images. Ortiz Cofer gives another case of the stereotyping she encountered when she states, "I recollect the kid who took me to my first formal move hanging over to plant a messy, over-excited kiss agonizingly on my mouth; when I didn 't react with an adequate energy, he commented angrily 'I thought you Latin young ladies should develop early" ' (Ortiz Cofer). This illustration demonstrates that basically in light of the fact that she was a Latina, the kid stereotyped her and expected it is adequate to give her
I chose the film Don Juan DeMarco because in Mexico the "Don Juan" are men who conquer many women. The film began when John Arnold DeMarco (1994), 21-year-old, he had the costume of a fox, cape, mask, hat, sword, and he believed to be Don Juan DeMarco, a Spanish. John Arnold DeMarco used this costume but it was the time of 1994, the other people wore different clothes. The way the young man conquered women was to talk to them beautifully, was detail among other things. After Don Juan wanted to commit suicide by throwing himself out of an advertisement, people called the fire department and afterward the psychiatrist Dr. Jack Mickler arrived.