LATINO/AS IN HOLLYWOOD:
IDENTITY POLITICS AND THE POLITICS OF IDENTITY
(Spring 2006)
http://www.asu.edu/courses/lia394a/
Monday:
1:00 to 4:50 in LSA 101
Wednesday: 1:00 to 3:50 in LSA 101
Professor: Dr. Daniel Bernardi
Email:
daniel.bernardi@asu.edu
OBJECTIVES
In this course we will take a critical look at the representation of Latinos in Hollywood film,
focusing on stereotyping, the politics of metaphor and allegory, self-representation and
resistance, and independent film. Toward the end of the class, we will focus on several case
studies of important Latino starts and filmmakers. In addressing these topics, stars, and
filmmakers, we will employ historical, critical and theoretical models – from structural
historiography to close textual analysis to poststructural theory – in order to both understand and
challenge the representation of Latino/as in film.
This course is neither automated nor self-paced. You are expected to engage in all learning tasks and
attend threaded discussions on the eBoard. To access the class website and eBoard, you can use your
personal computer, one in the library, and/or computer labs at ASU. Check the class website for a list of
these labs and their hours of operation.
Readings: There is one book for this course: Charles Ramírez Berg, Latino Images in Film:
Stereotypes, Subversion, Resistance. You will likely need to purchase it either at the ASU
bookstore or an online distributor such as Amazon. If you are taking this course via distance
learning and are not within driving range of campus, consider the fact that it will take at least two
weeks for the book to arrive; thus, be sure to order it well before class begins. You will also be
reading a number of articles, all of which have been posted to the virtual classroom in the
Schedule section. To honor copyright law, they have been password protected. The teaching
team will email you the passwords before the first day of class. Read the book and articles
carefully and on time, as they form the basis of both the online discussions and the quizzes.
Screenings: You are responsible for screening one film per lesson. The specific titles are listed
under the Schedule section. If you are taking this course via distance learning and are not within
driving range of campus, you can purchase the titles through Amazon (or another on-line
distributor) or rent them at your local video store. Several are available at the ASU library. Most
are also available through NetFlix, which is an ideal solution to students that must rely on rentals
when the course is taught via distance learning. Don’t watch these films for entertainment;
watch them for study. Take notes and view them numerous times. The screenings also form the
basis of both online discussions and quizzes.
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Plagiarism Policy: You are expected to turn in original work. Quotations or ideas paraphrased
from other work must be properly cited. Taking credit for another's idea or writing is plagiarism,
which is a serious violation of the University's Code of Academic Integrity: Integrity is expected
of every student in all academic work. The guiding principle of academic integrity is that a
student's submitted work must be the student's own. This principle is furthered by the student
Code of Conduct and disciplinary procedures established by ABOR Policies 5-308-5-403, all
provisions of which apply to Arizona State University students. If you are unsure how to credit
your source, ask a member of the teaching team for clarification.
ASSIGNMENTS
We expect every student to leave this course with a better – more insightful – understanding of
the representation of Latinos in Hollywood film history as well as the tools scholars use to
uncover, lay bear, and challenge stereotypes in film. Along the way, we ask that you complete
several interactive reading reviews, answer and ask questions on our electronic bulleting board
(eBoard), and, for brick and mortar students, attend all required screenings and lectures.
Participation (30 Points): You are responsible for engaging all screenings and lectures, as well
as participating in the threaded discussions that take place on the eBoard. You should post two
substantive comments to the eBoard per lesson. These posts must keep up with the progress of
the course. You cannot, for example, go back and post to a lesson after it has been completed
and expect for the posts to be counted. The teaching team will keep track of your participation,
including assessing the value of what you bring to this interactivity. Refrain from flaming or ad
hominem comments. Be rigorous but constructive.
Personal Essay – 10 Points: A three page, double-spaced, first person essay on what
“Hispanic” or “Latino/a” means to you. You should discuss whether or not your personal sense
of this identity has shifted or changed in your life. You should also make references to film, TV,
and the Web, as well as the two assigned readings listed under Lesson 1. Has the representations
of Latino/as (and other identities) in popular media informed your sense of this identity? Does
skin color inform your sense of this identity? If so, how and to what extent?
Two Quizzes (10 Points Each / 20 Points Total): At the end of the first two sections of class,
you will take a quiz. Your quiz may consist of true/false, multiple-choice, identification, fill-inthe-blank, and short-answer questions. The short-answer questions will be higher in value, so be
sure that you think through the various concepts outlined in the lectures, readings, and
screenings. Check the Schedule section of the class website for the date and time of the quizzes.
Critical Essay (40 Points): You will be expected to write a paper that analyzes a critical topic
related to Latino/as in Hollywood. Your paper must be double-spaced, one-inch margins, five
pages long, twelve point Times New Roman font, and include:
1) A clear thesis statement that includes a road-map as to how the paper will be structured.
Click here for more specific instructions regarding your thesis statement.
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2) Analysis supported by primary and secondary evidence. Primary evidence consists of the
films, historical documents, and other sources requiring direct analysis. Secondary
evidence consists of supporting and contrary scholarly sources.
3) You need to use at least 3 scholarly articles or books from the course bibliography. The
bibliography is located in the Virtual Classroom under Resources.
Feel free to pass a draft of your thesis statement past your TA or, if you don't have a TA, your
professor several days before the assignment is due.
Grading Scale - 0 to 100 Points
- 100
- A+
94 - 99
-A
90 - 93
- A88 - 89
- B+
84 - 87
-B
80 - 83
- B78 - 79
- C+
70 - 77
-C
60 - 69
-D
00 - 59
-E
SCHEDULE
This course is comprised of 15 lessons. Each lesson includes all or some of these tasks:
1. Reading:
Read a chapter from the assigned book or an essay from a journal.
2. Reading Review: Reconsider Key Concepts from the Readings
3. Website:
Surf Relevant Websites
4. Screening:
Study Films Screened for Class
5. Montage:
View montage images of Latino/as in Hollywood
6. Lecture:
Listen to Audio Lectures with PowerPoint Slides
7. Film Clips:
Review Scenes Referenced in Readings & Lectures
8. eBoard:
Pose and Answer Questions on the Electronic Bulletin Board
THEORY & METHOD
Lesson 1:
Reading:
Website:
Montage:
Lecture:
eBoard:
Introduction (01/18)
Ethnic Labels/Latino Lives (Suzanne Obler)
“Complexion” (Richard Rodriquez)
Reading Review
Assimilation versus Multiculturalism
United Colors of Latino/a
What does a Latino/a look like?
Discuss with Classmates
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Lesson 2:
Reading:
Website:
Screening:
Montage:
Lecture:
Film Clips:
eBoard:
Stereotyping (1/23 & 1/25)
Latino Images in Film, pp. 13-37 (Charles Ramírez Berg)
“Crafting Latino/a Images” (Daniel Bernardi)
Reading Review
Wikipedia: Stereotyping
Touch of Evil/ (Orson Welles, 1958)
Brownface
What are stereotypes and what is stereotyping?
Touch of Evil/ (Orson Welles, 1958)
Discuss with Classmates
Essay:
Personal Essay is due via email attachment on Friday, 1/27, by 9:00am MST
Lesson 3:
Reading:
Stereotypes and Cinema (1/30 & 2/1)
Latino Images in Film, pp. 38-65 (Charles Ramírez Berg)
Reading Review
Wikipedia: Ethnic Stereotypes in Film
Falling Down (Joel Schumacher, 1993)
How do stereotypes function in film?
Falling Down (Joel Schumacher, 1993)
Raiders of the Lost Arc (Steven Spielberg, 1981)
Discuss with Classmates
WebSite:
Screening:
Lecture:
Film Clips:
eBoard:
Lesson 4:
Reading:
Screening:
Montage:
Lecture:
Film Clips:
eBoard:
Lesson 5:
Reading:
Website:
Screening:
Lecture:
Film Clips:
eBoard:
Good Neighbors (2/6 & 2/8)
Latino Images in Film, pp. 66-86 (Charles Ramírez Berg)
“The Demands of Authenticity” (Brian O’Neil, 2001)
Reading Review
Flying Down to Rio (Thorton Freeland 1933)
“Spitfires, Tuttie Fruitis and Good Neighbors” & “Outlaws”
How about some Latino stereotypes?
Greaser’s Gauntlet (D.W. Griffith, 1908) &
Flying Down to Rio (Thorton Freeland 1933)
The Gay Caballero (Otto Brower, 1940)
Scarface (Brian De Palma, 1983) & Six Days, Seven Nights (Ivan Reitman, 1998)
Discuss with Classmates
The Hollywood Border (2/13 & 2/15)
Latino Images in Film, pp. 111-127 (Charles Ramírez Berg)
“Salt of the Earth” (Cathrine Lavender)
Reading Review
PBS – Interactive Timeline of the Border & Santa Fe Conference
Salt of the Earth (Herbert Biberman, 1953)
To assimilate or not to assimilate?
Bordertown (Archie Mayo, 1935)
Salt of the Earth (Herbert Biberman, 1953) Clip #2
Discuss with Classmates
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Lesson 6:
Reading:
eBoard:
Cowboys & Indians & Mexicans (2/20 & 2/22)
Latino Images in Film, pp. 128-152 (Charles Ramírez Berg)
Reading Review
Fort Apache (John Ford, 1948)
How are Latino/as represented in the Western?
Fort Apache (John Ford, 1948)
The Searchers (John Ford, 1959)
Cheyenne Autumn (John Ford, 1964)
Discuss with Classmates
Quiz #1:
Quiz #1 is due via email attachment on Friday, 3/3, by 9:00am MST
Lesson 7:
Reading:
Hollywood’s Science Fiction (2/27 & 3/1)
Latino Images in Film, pp. 153-182 (Charles Ramírez Berg)
Reading Review
US Citizen Test
Blade Runner (Ridley Scott, 1982)
Crossing the Galactic Border
Who are the “reel” aliens?
Blade Runner (Ridley Scott, 1982) Clip #2
Aliens (James Cameron, 1986)
Illegal Aliens Entering the U/Nightline (ABC News, 1988)
Discuss with Classmates
Screening:
Lecture:
Film Clips:
Website:
Screening:
Montage:
Lecture:
Film Clips:
eBoard:
Lesson 8:
Reading:
WebSite:
Screening:
Montage:
Lecture:
FilmClip:
eBoard:
Lesson 9:
Reading:
Screening:
Montage:
Lecture:
Film Clips:
eBoard:
Represive Acts (3/6 & 3/8)
“Jennifer’s Butt” (Frances Negrón-Muntaner, 1997)
Reading Quiz
The Art of the Butt
Selena (Gregory Nava, 1997)
The Many Parts of J-Lo
What’s a cross-over butt?
Selena (Gregory Nava, 1997)
Maid in Manhattan (Wayne Wang, 2002)
The Wedding Planner (Adam Shankman, 2001)
Discuss with Classmates
Subversive Acts (3/20 & 3/22)
Latino Images in Film, pp. 87-108 (Charles Ramírez Berg)
Reading Review
White Men Can’t Jump (Ron Shelton, 1992)
Puerto Rican Stars
Is resistance futile?
Do The Right Thing (Spike Lee, 1989)
White Men Can’t Jump (Ron Shelton, 1992)
Fearless (Peter Weir, 1993) & Lackawanna Blues (George C. Wolfe, 2005)
Discuss with Classmates
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Lesson 10:
Reading:
Website:
Screening:
Lecture:
Film Clips:
eBoard:
Lesson 11:
Reading:
Latino/as Filming Latinos (3/27 & 3/29)
Latino Images in Film, pp. 185-218 (Charles Ramírez Berg)
“An Interview with Lordes Portillo” (Michelle Martinez)
“Framing Identities” (Christina Cornejo)
Reading Review
Aztlan Film Institute's Top 100 List
Zoot Suit (Luis Valdez, 1981)
Is authenticity possible?
Zoot Suit (Luis Valdez, 1981)
La Ofrenda: Days of the Dead (Lordes Portillo, 1989)
The Devil Never Sleeps (Lordes Portillo, 1995)
Discuss with Classmates
Screening:
Lecture:
Film Clips:
eBoard:
Political Narratives (4/3 & 4/5)
“Dead Conversations on Art and Politics” (John Jota Leaños, Forthcoming)
“Indigenism, (IN)visibility” (John T. Caldwell, Forthcoming)
Reading Review
John Jota Leaños
Berkeley Media Lab
Rancho California (por favor) (John T. Caldwell, 2003)
What are stereotypes and what is stereotyping?
Rancho California (por favor) (John T. Caldwell, 2003)
Discuss with Classmates
Quiz #2:
Quiz #2 is due via email attachment on Friday, 4/7, by 9:00am MST.
Lesson 12:
Reading:
Paul Espinosa (4/10 & 4/12)
“Traversing Borders: an Interview with Paul Espinosa” (Bernardi, Forthcoming)
Reading Review
Paul Espinosa Productions
The Lemon Grove Incident (Paul Espinosa, 1986)
Uneasy Neighbors (Paul Espinosa, 1989)
How about documentary film?
Paul’s Film / Crystal’s Film
Discuss with Classmates
Website:
Website:
Screening:
Lecture:
Film Clips:
eBoard:
Lesson 13:
Reading:
Robert Rodríguez (4/17 & 4/19)
Latino Images in Film (219-261) / Charles Ramírez Berg
Reading Review
Website:
IMDB: Robert Rodríguez Filmography
Screening: Once Upon a Time in Mexico (Robert Rodríguez, 2003)
Lecture:
What is the Mariachi aesthetic?
Film Clips: Bedhead (Robert Rodriquez, 1990) & El Mariachi (Robert Rodriquez, 1993)
From Dusk Till Down (Robert Rodriquez, 1996) & Spy Kids (Rodriquez , 2001)
eBoard:
Discuss with Classmates
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Lesson 14:
Reading:
Website:
Screening:
Lecture:
FilmClips:
eBoard:
Lesson 15:
Reading:
Website:
Lecture:
Film Clips:
eBoard:
Paper:
Moctesuma Esparza (4/24 & 4/26)
“An Interview with Moctesuma Esparza” (Kathryn F. Galan)
Reading Review
IMDB: Moctesuma Esparza Filmography
The Milagro Beanfield War (Robert Redford, 1988)
Who are the producers?
The Ballad of Gregorio Cortez (Robert Young, 1982)
The Milagro Beanfield War (Robert Redford, 1988)
The Disappearance of Garcia Lorca (Marcos Zurinaga, 1997)
Gods and Generals (Ronald Maxwell, 2003)
Discuss with Classmates
The Future (5/1)
Latino Images in Film, pp. 262-272 (Charles Ramírez Berg)
Reading Review
National Association of Latino Independent Producers
So where are we… again?
Resurrection Boulevard (Denise Lioni, 2000) Clip #2 Clip #3
Discuss with Classmates
The critical paper is due to your instructor as an email attachment on
Friday, May 5, by 9:00am MST.
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