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1 Lesson 14: So where are we, again? Professor Daniel Bernardi/ Professor Michelle Martinez.

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Presentation on theme: "1 Lesson 14: So where are we, again? Professor Daniel Bernardi/ Professor Michelle Martinez."— Presentation transcript:

1 1 Lesson 14: So where are we, again? Professor Daniel Bernardi/ Professor Michelle Martinez

2 2 In the Last Lecture… The Actor’s Role Using Acting as Subversion - Lupe Vélez - Gilbert Roland - José Ferrer Zoot Suit

3 3 In this lecture… Examine the present and future of Latino film Robert Rodriguez’s use of genre Latinos behind the scenes –Moctesuma Esparza –NALIP Walkout

4 4 The New Guard Lecture 14: Part 1

5 5 1 st Wave ( ) Cinematic expression of a culturally nationalist movement Radical documentary era Politically contestational and formally oppositional

6 6 2 nd Wave (1977-present) Marks changes in movement Still rebellious, not as separatist Accessibility to mainstream funding (includes PBS) Appearance of narrative films Emergence of Chicana filmmakers

7 7 3 rd Wave (late 1980s-present) Mostly made up of genre films Inside and outside of Hollywood Adheres closely to Hollywood paradigm

8 8 3 rd Wave (late 1980s-present) continued Films do not accentuate Chicano resistance or oppression Ethnicity is one of many facts that shape lives of characters

9 9 The Mainstream “…this New Wave is much more mainstream then earlier Chicano filmmaking and far less overtly political, and its appearance raises some interesting issues for Chicano cinema.” (219) -Charles Ramirez Berg

10 10 Presently Many Latinos are involved in all aspects of the film industry Latino characters and actors are making prominent advances on television and in movies The population of Hispanics in the U.S. continue to grow and have viable spending power

11 11 Discussion Topic “Is it possible for ethnic or otherwise marginalized filmmakers to enter mainstream media institutions and maintain their ethnic identity?” -Charles Ramirez Berg (219)

12 12 Genre Bending Lesson 14: Part 2

13 13 Remember Definition of Genre “Stated simply, genre movies are those commercial feature films which, through repetition and variation, tell familiar stories with familiar characters in familiar situations. They also encourage expectations and experiences similar to those of similar films we have already seen.” - Berry Keith GrantBerry Keith Grant

14 14 Robert Rodriguez Bedhead (1990) El Mariachi (1993) Desperado (1995) Four Rooms (1995) From Dusk Til Dawn (1996) Spy Kids (2001) Spy Kids 2 (2002)

15 15 Robert Rodriguez Spy Kids 3 (2003) Once Upon a Time In Mexico (2003) Sin City (2005) The Adventures of Shark Boy and Lava Girl (2005) Grindhouse (2007)

16 16 Mixing Genres Bedhead- mixes coming-of-age genre film with the Mexican myth of La Llorona El Mariachi- mixes the Mexican Police Genre of narcotraficante film with the Warrior Adventure genre

17 17 Transnational Genres “Narratively, El Mariachi is in the tradition of a species of the transnational adventure film- the warrior adventure genre- rooted in the Hollywood Western, which has blossomed because of cinematic cross- pollinations between Asia and Hollywood.” (227) -Charles Ramirez Berg

18 18 Warrior Adventure Genre Lone male protagonist with unusual physical power Hero adheres to personal code of justice and morality, directed toward altruistic ends Protagonist undergoes a severe test, involving loss Revenge motivates rehabilitation Undergoes spiritual rehabilitation Confronts and defeats the ruthless villain

19 19 Other Warrior Adventure Films Lethal Weapon (1987) Die Hard (1988) The Chinese Connection (Bruce Lee 1972) Jackie Chan’s Police Force (1986)

20 20 El Mariachi Subverts Warrior Genre Mexican hero No special physical skill Hero as “antimacho” Doesn’t drink or smoke Is a “balladeer looking for an audience” Devoted to cultural roots All of society is corrupt Drug business analogous to maquiladoras

21 21 El Mariachi as Antimacho “…it’s the naturalized dominance of signifiers of masculinity, and the mariachi’s lack of them, that gets him into trouble. No one is prepared to believe that he is a male without any indicator of masculine power—that he is a different kind of male. Therefore, his guitar case is misread as his masculine sign—assumed to be Azul’s trademark arsenal—and he is mistaken for the hitman.” (237) -Charles Ramirez Berg

22 22 The Big Point The new generation of Chicana/o and Latina/o filmmakers, such as Robert Rodriguez, have access to the mainstream and use this to make the kind of films they want to make. The resulting work combines genres and demonstrates a deep knowledge of the history of cinema of Hollywood and transnationally. These filmmakers use the Hollywood formula to subvert Hollywood formula.

23 23 The New Old Guard Lecture 14: Part 3

24 24 Moctesuma Esparza As Producer: Only Once in a Lifetime (1979) The Ballad of Gregorio Cortez (1982) The Milagro Beanfield War (1988) Gettysburg (1993) Selena (1997) The Disappearance of Garcia Lorca (1997) Introducing Dorothy Dandridge (1999) Price of Glory (2000) God and Generals (2003) Walkout (2006)

25 25 Rooted In Activism Moctesuma Esparza began as a political activist Organizer for the Chicano Movement and Chicano student walkouts Worked as liason between media and Strike Committee

26 26 Reaching a Larger Audience “…I realized that in order to be successful in a mass-market medium, I needed to have alliances with other people who agreed with what I was proposing to do and who supported it.” (312) -Interview with Moctesuma Esparza by Kathryn Galan

27 27 The Human Story “In creating human portrayals, my ultimate goal was to study what is to be human. As a History major, I had a tremendous interest in how we came to be through the paths we have taken.” (313) -Interview with Moctesuma Esparza by Kathryn Galan

28 28 The Birth of NALIP “In 1988, there was a crisis in the Latino media community: the one organization that was providing minimal funding for producers working in the PBS world had not provided any funding for three years…that led to a conference…the outcome was a declaration by those in attendance that there was a need and wanting of a national organization and NALIP was born there.” (318)

29 29 NALIP The National Association of Latino Independent Producers (NALIP) Hosts a Producers Academy Writer’s Labs National Conference Resource Guides and Publications Internships and Job Boards Local Chapters in major cities across U.S. To learn more about NALIP click here

30 30 The Big Point Members of the First Wave of Chicano Film and of the Chicano Political Movement of the 1960’s, have shifted and changed to be more inclusive and to target a wider audience for their work, while still focusing on ethno-centric stories. The old guard, such as Moctesuma Esparza, have used their success to begin partnerships to provide support to up and coming Latino filmmakers.

31 31 Walkout Lecture 14: Part 4

32 32 Walkout (2006) Aired on HBO Released on DVD by HBO films Produced by Moctesuma Esparza Directed by Edward James Olmos Starred Alexa Vega (Spy Kids)

33 33 Synopsis “Walkout is a 2006 Home Box Office film based on a true story of the 1968 East L.A. walkouts. Student activist and Mexican-American Paula Crisostomo (played by Alexa Vega), tired of being treated unequally, decides to take action and stage a walkout at five East Los Angeles high schools in 1968 to protest educational conditions and complain of anti-Mexican educational bias along with some 10,000 students.” -WikipediaWikipedia

34 34 Years in the Making “Early in my career as a filmmaker, in the early 1980’s, after I began doing narrative films with an emphasis on historical material, I started thinking about making this movie about the student strike. And it’s taken me since twenty-eight years – to finally get this movie made.” (310) -Interview with Moctesuma Esparza by Kathryn Galan

35 35 End of Lecture 14 Next Lecture: Wrap Up and Review


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