Present an analysis of a so-called Good
Neighbour film, making reference to the
socio-political context in which the film was
produced, and reflecting on the
representation of Latin America(ns) in the
film
Jemma Wark, Teri Crawford, Joelle Horner and Sarah Phythian
Outline
• The Good Neighbour Policy and it's implementation in
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the USA
Overview of Down Argentina Way
Representation of different Latin American cultures
within the film
Latin America as a subordinate nation
Latin Americans as the 'exotic other'
Latin Americans as untrustworthy
Similarities between North Americans and Latin
Americans
Conclusive points
What was Roosevelt’s ideology behind the
Good Neighbour Policy?
• Security:
"To ensure that nations in Latin America were joined in the
Allied war effort and were not associated with the Axis or
Communist sympathisers."
• Economic interests:
"To allow the US access to Latin America as a source of
raw materials and a market for goods, including films."
(Falicov, 2007: 15)
• America wanted to maintain its military and economic
strength, the underlying values of its national culture.
How was the Good Neighbour
Policy implemented in America?
Through a unique programme called the ‘New Deal’:
• Latin songs in vogue
• Radio campaigns:
FDR’s fireside chats
• Photography campaigns.
• Tours by Carmen Miranda and Dolores del Rio.
• To promote racial understanding and tolerance of
diversity and helped to “articulate the lower third of
society.” (Pike, 1995: 69)
Film information
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Released in 1940
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"The South American way! with the
pretty american debutante and her
dashing Argentine sweetheart...in the
gayest of adventures from New York to
Buenos Aires."
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Film poster and credits portray
Miranda as a star of the film, even
though she has no pivotal role in the
narrative.
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Directed by Irving Cummings
"Yes sir, we can just imagine how the
boys in Rio and B.A will bubble with
amity when they see Miss Grable up
there on the screen“.
Latin American cultures
represented in the film
Mexican sounds
Mexican-style village dance
Brazilian Portuguese song by
Carmen Miranda
Samba also featured
American
Tap
Dance
Cuban
style
music
Argentinian gauchos
Rumba also mentioned
Subordinate nation?
•“Indeed, in the carnivalesque moments
in the present film, it is always the North
Americans who are at centre stage.”
•“North America is displacing South
America as the emotional, ideological,
figurative (and in terms of filmic framing)
literal centre of the movie.”
•(Swanson, 2009:11)
•On the other hand, Latin America as the
fun, carnivalesque land where you can
“kiss your cares goodbye”.
•(Down Argentina Way, 1940)
'Other'
"Exotic sex object":
• Sexualised physicality
• Exotic Language
• Tourist Appeal
"Ignorant comic":
• Accents and mispronunciations by Latin
American characters.
"So very much delightful to meet you (...) and now if
we will come with you, you can escort me to the
hotel."
"Us will be glad to."
Untrustworthy
• Tito - "tall, dark and handsome" yet
misleading.
• Casiano - cunning and sly.
• Ricardo - charming and attractive,
yet deceitful and dishonest.
• Reflection of the turbulent
relationship between North and
South America.
Similar
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Contrasted with the ignorant comic 'other', is the idea of the white
Argentine elite.
"the denial […] and erasure of real differences (the similarities are only really
between cultural and economic elites)". (Swanson, 2009: 3)
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These tensions reflect the political and social anxieties at the root of
the Good Neighbour Policy.
Conclusion
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Fun
Exotic
The ideal place to escape to
Similar to North Americans to an
extent
Union of Glenda and Ricardo
reflects the aim of the Good
Neighbour Policy
Misrepresentation
Homogenisation
Negative reception in Latin America
Bibliography
Augusto, Sérgio, ‘Hollywood looks at Brazil: From Carmen Miranda to Moonraker’ in Brazilian Cinema. Ed. Randal Johnson
& Robert Stam, New York: Columbian University Press, c1995 pp. 315-361.
Clark, Walter Aaron, From Tejano to Tango: Latin American Popular Music. London: Routledge, 2002
Dennison, Stephanie and Shaw, Lisa, Essays on Modernity, Gender and National Identity. North Carolina: Mc Farland and
Company, Inc, 2005, pp.180-208.
Falicov, Tamara, L., The Cinematic Tango: Contemporary Argentine Film. London: Wallflower Press, 2007, pp.6-21
Growther, Barry, 'The Screen: 'Down Argentine Way', with Betty Grable, at Roxy --J. Barrymore in 'The Great Profile' at the
Palace', 18/10/1940. http://movies.nytimes.com/movie/review?res=9D04EED6103EE432A2575BC1A9669D946193D6CF.
Accessed on 23 November 2012.
López, Ana M., ‘Are all Latins from Manhattan? Hollywood, Ethnography and Cultural Colonialism’ in Mediating two worlds :
cinematic encounters in the Americas. Eds. John King, Ana M. López & Manuel Alvardo, London: BFI Publishing, 1993, pp.
67-80.
Pike, Fredrick,B., FDR’s Good Neighbour Policy: Sixty Years of Generally Gentle Chaos. Austin: University of Texas Press,
1995, pp. 2-124.
Roberts, Shari, ‘The Lady in the Tutti-Frutti Hat’ in Hollywood musicals, the film reader. Ed. Stephen Cohan, London:
Routledge, 2002, pp. 143-158.
Swanson, Phillip, ‘Going Down on Good Neighbours: Imagining América in Hollywood Movies of the 1930s and 1940s
(Flying Down to Rio and Down Argentine Way)’, Bulletin of Latin American Research, Vol. 28., No. 3., 2009, pp.1-14.
http://www.tcm.com/tcmdb/title/73531/Down-Argentine-Way/. Accessed 20 November 2012.
http://uk.imdb.com/title/tt0032410/. Accessed 22 November 2012.
Film clips and stills taken from: Down Argentine Way (1940).