Chicanos/Latinos in the Movies:
A Bibliography of Materials in the UC Berkeley Library













Reference Sourcs
Books/Videos
Journal and Newspaper Articles

Articles and Books on Individual films

Movies, Race & Ethnicity Videography for articles and reviews of individual films

Reference Sources

Chicano Cinema: Research, Reviews, and Resources
Edited by Gary D. Keller. Binghamton, N.Y.: Bilingual Review/Press, c1985.
UCB Chicano P90 .C499 1985
UCB Main PN1995.9.M49 C47 1985
UCB Moffitt PN1995.9.M49 C47 1985

CineWorks: A Latino Media Resource Guide, 1993
Cine Accion. San Francisco, CA (346 9th St., 2nd floor, San Francisco 94103): Cine Accion, [1993].
UCB Media Ctr PN1995.9.M49 C5 1993

Keller, Gary D.
Hispanics and United States Film: An Overview and Handbook Gary D. Keller. Tempe, Ariz.: Bilingual Review/Press, c1994.
UCB Chicano PN1994 .K36 1994
UCB Main PN1995.9.L37 K46 1994
UCB Moffitt PN1995.9.L37 K46 1994

Reyes, Luis
Hispanics in Hollywood: An Encyclopedia of Film and Television Luis Reyes and Peter Rubie. New York: Garland Pub., 1994. Series title: Garland Reference Library of the Humanities; vol. 1761
UCB Bancroft PN1995.9.H47 R49 1994
UCB Chicano PN1994 .R383 1994 Ref.
UCB Ref/Bib PN1995.9.H47 R49 1994

Richard, Alfred Charles
Contemporary Hollywood's Negative Hispanic Image: An Interpretive Filmography, 1936-1955, Alfred Charles Richard, Jr. Westport, Conn.: Greenwood Press, 1993. Series title: Bibliographies and Indexes in the Performing Arts no. no. 14
UCB Moffitt PN1995.9.L37 R53 1993 Reference
UCB Ref/Bib PN1995.9.L37 R53 1993

Richard, Alfred Charles
Contemporary Hollywood's Negative Hispanic Image: An Interpretive Filmography, 1956-1993, Alfred Charles Richard, Jr. Westport, Conn.: Greenwood Press, 1994. Series title: Bibliographies and Indexes in the Performing Arts no. no. 16
UCB Main PN1995.9.L37 R54 1994

Richard, Alfred Charles
The Hispanic Image on the Silver Screen: An Interpretive Filmography From Silents into Sound, 1898-1935 / Alfred Charles Richard, Jr. New York: Greenwood Press, 1992. Series title: Bibliographies and indexes in the performing arts no. 12.
UCB Chicano PN1994 .R546 1992 Reference
UCB Moffitt PN1998 .R54 1992 Reference
UCB Ref/Bib PN1995.9.L369 R53 1992

Books/Videos

Baker, Ellen R.
On strike and on film : Mexican American families and blacklisted filmmakers in Cold War America Chapel Hill : University of North Carolina Press, c2007.
MAIN: HD5325.M72 1951 .E473 2007
BANC: HD5325.M72 1951 .E473 2007
Table of contents http://www.loc.gov/catdir/toc/ecip0618/2006024952.html

Berg, Charles Ramirez
Latino images in film: stereotypes, subversion, & resistance Austin: University of Texas Press, c2002.
Full-text of this book available online via ebrary [UC Berkeley users only]
MAIN: PN1995.9.H47 B46 2002

Berg, Charles Ramirez.
"Stereotyping and Resistance: A Crash Course on Hollywood's Latino Imagery." In: The future of Latino independent media : a NALIP sourcebook Chon A. Noriega, editor. pp: 3-13. Los Angeles, Calif. : UCLA Chicano Studies Research Center, 2000.
Main Stack P94.5.H58.F88 2000
Bancroft P94.5.H58.F88 2000 Non-circulating; may be used only in The Bancroft Library. NRLF #: W 166 317 (Restricted Circ)

Berumen, Frank Javier Garcia.
Brown celluloid : Latino/a film icons and images in the Hollywood film industry / Vantage Press, c2003-
MAIN: PN1995.9.H47 B48
PFA : PN1995.9.H47 B48

Berumen, Frank Javier Garcia.
The Chicano/Hispanic image in American Film / Frank Javier Garcia Berumen. 1st ed. New York: Vantage Press, c1995.
UCB Main PN1995.9.H47 B47 1995

The Bronze screen: 100 years of the Latino image in Hollywood. [VIDEO]
This extensive documentary honors the past and looks at the future of Latinos in motion pictures. From silent movies to urban gang films, stereotypes of the Greaser, the Lazy Mexican, the Latin lover and the Dark lady are examined. Rare and extensive footage traces the progression of this distorted screen image to the increased prominence of today's Latino actors, writers and directors. 2002. 120 min. DVD 1526

Chavez, Ramon
"thnic stereotypes : Hispanics and Mexican Americans." In: Images that injure : pictorial stereotypes in the media / edited by Paul Martin Lester and Susan Dente Ross ; foreword by Everette E. Dennis. Edition 2nd ed. Westport, Conn. : Praeger, c2003.
Main Stack P96.S74.I45 2003

Chicana (W)rites: On Word and Film
Edited by Maria Herrera-Sobek and Helena Maria Viramontes. Berkeley, CA: Third Woman Press, 1995. Series title: Series in Chicana/Latina studies.
UCB Ed/Psych PS508.M4 C56 1995

Chicano Cinema: research, Reviews, and Resources
Edited by Gary D. Keller. Binghamton, N.Y.: Bilingual Review/Press, c1985.
UCB Main PN1995.9.M49.C47 1985
UCB Moffitt PN1995.9.M49.C47 1985
UCB Chicano Stu P90.C499 1985 Housed at Ethnic Studies Library. Check there for availability.

Chicano Cinema. (Cine Chicano)
Gary D. Keller, compilador. 1. ed. castellana. Mexico: Cineteca Nacional, 1988.
UCB Chicano P90 .C5

Chicanos and Film: Essays on Chicano Representation and Resistance
Edited by Chon A. Noriega. New York: Garland Pub., 1992. Series title: Garland Reference Library of Social Science; v. 710.
UCB Chicano PN1994 .C6
UCB Main PN1995.9.M49 N67 1992
UCB Moffitt PN1995.9.M49 N67 1992

Chicanos and Film: Representation and Resistance
Edited by Chon A. Noriega. Minneapolis: University of Minnesota Press, c1992.
UCB Moffitt PN1995.9.M49 C49 1992

Denzin, Norman K.
"Selling Images of Inequality: Hollywood Cinema and the Reproduction of Racial and Gender Stereotypes: Hispanic Cinema." In: The Blackwell companion to social inequalities / edited by Mary Romero and Eric Margolis. Malden, MA : Blackwell, 2005.
Full-text available online [UCB users only]
Main Stack HM821.B55 2005

Escalante, Virginia.
"The Politics of Chicano Representation in the Media." In: Chicano renaissance : contemporary cultural trends / edited by David R. Maciel, Isidro D. Ortiz, Maria Herrera-Sobek. pp: 131-68. Tucson : University of Arizona Press, c2000.
UCB Bancroft E184.M5 C4531 2000
UCB Main E184.M5 C453 2000

The Ethnic Eye: Latino Media Arts
Edited by Chon A. Noriega and Ana M. Lopez. Minneapolis, Minn.: University of Minnesota Press, c1996.
UCB Main PN1995.9.L37 E84 1996

Fregoso, Rosa Linda.
The Bronze Screen: Chicana and Chicano Film Culture / Rosa Linda Fregoso. Minneapolis: University of Minnesota Press, c1993.
UCB Chicano PN1994 .F8
UCB Main PN1995.9.M49 F74 1993
UCB Moffitt PN1995.9.M49 F74 1993

Fuentes, Victor.
"Chicano Cinema: A Dialectic between Voices and Images of the Autonomous Discourse versus Those of the Dominant." In: Chicanos and Film: Representation and Resistance. Edited by Chon A. Noriega. Minneapolis: University of Minnesota Press, c1992. pp: 207-17.
Different ed also in Main Stack PN1995.9.M49.N67 1992
UCB Moffitt PN1995.9.M49.C49 1992
Chicano Stu PN1994.C65 1992 Housed at Ethnic Studies Library. Check there for availability.

The future of Latino independent media : a NALIP sourcebook
Chon A. Noriega, editor. Los Angeles, Calif. : UCLA Chicano Studies Research Center, 2000.
Main Stack P94.5.H58.F88 2000
Bancroft P94.5.H58.F88 2000 Non-circulating; may be used only in The Bancroft Library. NRLF #: W 166 317 (Restricted Circ)

Hadley-Garcia, George
Hispanic Hollywood: The Latins in Motion Pictures, by George Hadley-Garcia. New York, NY: Carol Pub. Group, c1990.
UCB Chicano PN1994 .H2 1990
UCB Main PN1998.2 .H34 1990
UCB Moffitt PN1998.2 .H34 1990

Herrera-Sobek, Maria.
"The Corrido as Hypertext: Undocumented Mexican Immigrant Films and the Mexican/Chicano Ballad." In: Culture across borders : Mexican immigration & popular culture / edited by David R. Maciel and Maria Herrera-Sobek. pp: 227-58. Tucson: University of Arizona Press, c1998.
UCB Bancroft E184.M5 C85 1998
UCB Main E184.M5 C85 1998

Hispanic Hollywood: Then and Now [Video]
Celebrates the silver screen legacy of Hispanic entertainers. From the early passions of the "Latin lover" through today's top celebrities, this film looks at the careers and contributions of some of film history's most legendary Hispanic performers. Directed by Stephanie Bianca. c2007. 85 min. Media Resources Center DVD X5336

Images of Chicanos in Film: A Symposium[Video]
Produced by KOA-TV. Boulder, CO: KOA-TV, [198-?]. 1 videocassette.
UCB Media Ctr VIDEO/C 2172

Independent view: Gregory Nava & Allison Anders[Video]
A segment from a TV series offering a behind-the-scenes look into the creative process of independent filmmaking. The first episode features film critic and journalist, Michael Fox in conversation with Mexican-American filmmaker Gregory Nava, who's films focus on cross-cultural issues and themes of struggles within immigrant life in the United States as portrayed in "Confessions of Amans, El Norte, Mi Familia, Selena, and American tapestry." In part two director and screenwriter Allison Anders chats about her commitment to telling women's stories in her films "Mi vida loca, Four rooms, Sugar town, Gas food lodging, Border radio." Video/C MM102

Keller, Gary D.
Hispanics and United States film: An Overview and Handbook Tempe, Ariz.: Bilingual Review/Press, c1994.
UCB Chicano PN1994 .K36 1994
UCB Main PN1995.9.L37 K46 1994
UCB Moffitt PN1995.9.L37 K46 1994

Latin looks: images of Latinas and Latinos in the U.S. media
Edited by Clara E. Rodriguez. Boulder, Colo. : Westview Press, 1997.
MAIN: P94.5.H582 U65 1998
Chicano Stu P94.5.H582.L28 1997

Latino Hollywood [video]
Program looks at the history and image of the Latino and Latina in Hollywoood films from the 1940s through the mid-1990s. Also reviews the roles Latino actors and actresses were given to play in popular films during this period and examines the few social realist films of the period. It then charts the gradual shift in the 70's and 80's from the Latino stereotypical image to the growth of independent Latino filmmaking and the "crossover" films of the 80's and 90's.
Media Resources Center Video/C 5109

Latino/a popular culture
Edited by Michelle Habell-Pallan and Mary Romero. New York : New York University Press, c2002. Habell-Pallan, Michelle.
Full text available online [UCB users only]
Main Stack E184.S75.L3554 2002
Music E184.S75.L3554 2002
Moffitt E184.S75.L3554 2002

Latino Hollywood
Mexican American Studies and Research Center, University of Arizona. [United States]: The Cinema Guild, c1996. 1 videocassette (18 min.): sd., col. and b&w; 1/2 in. VHS. UCB Media Ctr VIDEO/C 5109

List, Christine.
Chicano Images: Refiguring Ethnicity in Mainstream Film / Christine List. New York: Garland Pub., 1996. Garland Studies in American Popular History and Culture
UCB Main Stack PN1995.9.M49.L57 1996
BANC: PN1995.9.M49 L57 1996
CHIC: PN1995.9.M49 L58 1996; Housed at Ethnic Studies Library.

List, Christine.
"Self-Directed Stereotyping in the Films of Cheech Marin." In: Chicanos and film: Representation and Resistance. Edited by Chon A. Noriega. Minneapolis: University of Minnesota Press, c1992. pp:183-94.
Different ed also in Main Stack PN1995.9.M49.N67 1992
UCB Moffitt PN1995.9.M49.C49 1992
Chicano Stu PN1994.C65 1992 Housed at Ethnic Studies Library. Check there for availability.

Maciel, David R. and Garcia-Acevedo, Maria Rosa
"The Celluloid Immigrant: The Narrative Films of Mexican Immigration." In: Culture Across Borders: Mexican Immigration & Popular Culture / edited by David R. Maciel and Maria Herrera-Sobek. pp: 149-202. Tucson: University of Arizona Press, c1998.
UCB Bancroft E184.M5 C85 1998
UCB Main E184.M5 C85 1998

Maciel, David.
El bandolero, el pocho y la raza : imagenes cinematograficas del chicano Mexico : Universidad Nacional Autonoma de Mexico; [Albuquerque], N.M. : University of New Mexico, Center for Regional Studies, 1994.
MAIN: PN1995.9.M49 M33 2000
CHIC: PN1995.9.M49 M245 1994; Housed at Ethnic Studies Library.

Maciel, David R.
"Pochos and Other Extremes in Mexican Cinema; Or, El Cine Mexicano se va de Bracero, 1922-1963." In: Chicanos and film: Representation and Resistance. Edited by Chon A. Noriega. Minneapolis: University of Minnesota Press, c1992. pp: 94-113.
Different ed also in Main Stack PN1995.9.M49.N67 1992
UCB Moffitt PN1995.9.M49.C49 1992
Chicano Stu PN1994.C65 1992

Maciel, David R., Racho, Susan.
"'Yo Soy Chicano': The Turbulent and Heroic Life of Chicanas/os in Cinema and Television." In: Chicano renaissance : contemporary cultural trends / edited by David R. Maciel, Isidro D. Ortiz, Maria Herrera-Sobek. Tucson : University of Arizona Press, c2000.
Main Stack E184.M5.C453 2000
Bancroft E184.M5.C4531 2000

Mediating Two Worlds: Cinematic Encounters in the Americas
Edited by John King, Ana M. Lopez, Manuel Alvarado. London: BFI, 1993.
UCB Main PN1995.9.L37 M43 1993
UCB Moffitt PN1995.9.L37 M43 1993

Nericcio, William Anthony
Tex[t]-Mex : seductive hallucinations of the "Mexican" in America Austin : University of Texas Press, 2007.
MAIN: PN1995.9.M49 N47 2007
MOFF: PN1995.9.M49 N47 2007
BANC: PN1995.9.M49 N47 2007
CHIC: PN1995.9.M49 N385 2007;
Table of contents http://www.loc.gov/catdir/toc/ecip0613/2006015013.html

Noriega, Chon A.
"Internal 'Others': Hollywood Narratives 'about' Mexican-Americans. In: Mediating Two Worlds: Cinematic Encounters in the AmericasEdited by John King, Ana M. Lopez, Manuel Alvarado. London: BFI, 1993. pp: 52-66.
UCB Main PN1995.9.L37.M43 1993
UCB Moffitt PN1995.9.L37.M43 1993

Noriega, Chon A.
Shot in America: television, the state, and the rise of Chicano cinema / Chon A. Noriega. Minneapolis: University of Minnesota Press, c2000.
Main Stack PN1995.9.M49.N69 2000
Bancroft PN1995.9.M49.N69 2000 Non-circulating; may be used only in The Bancroft Library

Pettit, Arthur G.
Images of the Mexican American in Fiction and Film / by Arthur G. Pettit; edited with an afterword by Dennis E. Showalter. 1st ed. College Station: Texas A&M University Press, c1980.
UCB Chicano PS173 .P3
UCB Main PS374.M48 P47
UCB Moffitt PS374.M48 P47 *c2 copies
NRLF W 125 155 Request item at UCB Bancroft Library. Type EXP NRLF for loan details.

Ramirez Berg, Charles.
"Bordertown, the Assimilation Narrative, and the Chicano Social Problem Film." In: Chicanos and Film: Representation and Resistance. Edited by Chon A. Noriega. Minneapolis: University of Minnesota Press, c1992. pp: 29-46..
Main Stack PN1995.9.M49.N67 1992
UCB Moffitt PN1995.9.M49.C49 1992
Chicano Stu PN1994.C65 1992

Richard, Alfred Charles
Censorship and Hollywood's Hispanic Image: An Interpretive Filmography, 1936-1955 /Alfred Charles Richard, Jr. Westport, Conn.: Greenwood Press, 1993. Series title: Bibliographies and indexes in the performing arts no. 14. 0742-6933
UCB Moffitt PN1995.9.L37 R53 1993 Reference
UCB Ref/Bib PN1995.9.L37 R53 1993

Richard, Alfred Charles
Contemporary Hollywood's Negative Hispanic Image: An Interpretive Filmography, 1956-1993 Westport, Conn.: Greenwood Press, 1994. Series title: Bibliographies and indexes in the performing arts no. 16.
UCB Main PN1995.9.L37 R54 1994

Rios, Diana I.
"Chicana/o and Latina/o Gazing: Audiences of the Mass Media." In: Chicano renaissance : contemporary cultural trends / edited by David R. Maciel, Isidro D. Ortiz, Maria Herrera-Sobek. pp: 169-90. Tucson : University of Arizona Press, c2000.
UCB Bancroft E184.M5 C4531 2000
UCB Main E184.M5 C453 2000

Rodriguez, Clara E.
Heroes, lovers, and others : the story of Latinos in Hollywood Washington [D.C.] : Smithsonian Books, c2004.
MAIN: PN1995.9.H47 R63 2004
MOFF: PN1995.9.H47 R63 2004
BANC: PN1995.9.H47 R63 2004

Sandoval-Sanchez, Alberto.
Jose, can you see?: Latinos on and off Broadway / Alberto Sandoval-Sanchez. Madison: The University of Wisconsin Press, c1999.
UCB Main PN2270.H57 S26 1999

Saragoza, Alex M.
"Cinematic Orphans: Mexican Immigrants in the United States since the 1950s." In: Chicanos and Film: Representation and Resistance / edited by Chon A. Noriega. pp: 14-26. New York: Garland Pub., 1992. Garland reference library of social science; v. 710.
Main Stack PN1995.9.M49.N67 1992
Moffitt PN1995.9.M49.N67 1992
Chicano Stu PN1994.C6 Housed at Ethnic Studies Library. Check there for availability.

Saragoza, Alex M.
"Mexican Cinema in the United States 1940-1952." In: History, Culture, and Society: Chicano Studies in the 1980s / National Association for Chicano Studies; editorial committee, Mario T. Garcia ... [et al.; contributions by Bert N. Corona ... et al.]. pp: 107-124. Ypsilanti, Mich.: Bilingual Press/Editorial Bilingue, c1983.
Bancroft pfE184.M5.H57 1983 Non-circulating; may be used only in The Bancroft Library.

Tatum, Charles M.
Chicano popular culture: que hable el pueblo Tucson: University of Arizona Press, c2001.
MAIN: E184.M5 T38 2001

Troyano, Alina.
I, Carmelita Tropicana: performing between cultures / Alina Troyano with Ela Troyano and Uzi Parnes; edited by Chon ... Boston, Mass.: Beacon Press, c2000. Noriega, Chon A., 1961 Bluestreak.
Main Stack PS3570.R698.I23 2000

Unspeakable images: Ethnicity and the American Cinema
Edited by Lester D. Friedman. Urbana: University of Illinois Press, c1991.
UCB AsianAmer PN1995.9.M56 U57 *c2 copies
UCB Main PN1995.9.M56 U57 1991
UCB Moffitt PN1995.9.M56 U57 1991
UCB NativAmer PN1995.9.M56 U57 1991

Williams, Linda.
"Type and Stereotype: Chicano Images in Film." In: Chicano Cinema: Research, Reviews, and ResourcesEdited by Gary D. Keller. Binghamton, N.Y.: Bilingual Review/Press, c1985. pp: 59-63.
UCB Chicano P90 .C499 1985
UCB Main PN1995.9.M49 C47 1985
UCB Moffitt PN1995.9.M49 C47 1985

Woll, Allen.
"Bandits and lovers: Hispanic images in American film." In: The Kaleidoscopic lens : how Hollywood views ethnic groups / edited by Randall M. Miller Englewood, N.J. : Ozer, c1980
Main Stack PN1995.9.M56.K3
Moffitt PN1995.9.M56.K3
Chicano Stu P90.K2.M5

Woll, Allen.
"Hollywood Views the Mexican-American: From The Greaser's Revenge to The Milagro Beanfield War." In Hollywood as Mirror: Changing Views of "Outsiders" and "Enemies" in American Movies. Edited by Robert Brent Toplin, pp. 41-51.. Westport, CT: Greenwood Press, 1993.
UCB Moffitt PN1995.9.M56H65 1993

Journals, Periodicals, Newspaper Articles

Acuña, Beatriz Peña.
"Latinos in U.S. Film Industry.F" Journal of Alternative Perspectives in the Social Sciences, May2010, Vol. 2 Issue 1, p399-414, 16p
UC users only

Amador, Omar G.
"Latin lovers, Lolita and La Bamba." (Hispanics in Hollywood) Americas (English Edition) v40, n4 (July-Aug, 1988):2 (8 pages).

Armann, Claudia.
"Hispanic Hollywood." (growth in Hispanic-themed entertainment projects) (includes directory of business contacts in the entertainment industry) Hispanic Business v18, n7-8 (July-August, 1996):64 (2 pages).
The Hollywood entertainment industry appears to be finally realizing the untapped potential of the Hispanic market. Hispanics are still underrepresented on TV, but increased campaigning by advocacy groups has had some success in getting more Hispanic talent hired.

Aufderheide, Pat.
"Reel Life." (Edward James Olmos) Mother Jones v13, n3 (April, 1988):24 (5 pages).

Avila, Alex.
"Taken for a ride: Hispanic filmmakers experience the ups and downs of Hollywood and ask, "What's next?" (includes filmography and interview with producer Moctesuma Esparza)Hispanic v10, n6 (June, 1997):34 (5 pages).
UC Berkeley users only
Filmmakers would make more Hispanic American movies if box office receipts were higher. However, Hispanic Americans tend to spend more money on videos than on first-run motion pictures. This may be the reason why 'Selena' was not as successful as expected in the theaters.

Avila, Alex.
"25 Most Powerful Hispanics in Hollywood."(includes related article on 10 rising Hispanic personalities)(Cover Story)Hispanic v9, n4 (April, 1996):20 (7 pages).
Prospects are bright for Latino performers. Robert Rodriguez, Antonio Banderas, John Leguizamo and Rosie Perez are included in the power list. Actors and producers dominate the list followed by producers and directors.

Barrera, Mario.
"Missing The Myth: What Gets Left Out Of Latino Film Analysis."Perspectives in Mexican American Studies 1997 6: 168-194.
"Examines three films with Mexican-American themes, La Bamba (1987), Born in East L.A. (1987), and El Norte (1983), from the viewpoints of the filmmaker and the academic critic. Feature filmmakers construct films as drama, at the heart of which is emotional audience response. Academics interpret films primarily through an intellectual lens, paying little or no attention to constraints faced by filmmakers who must create films that are successful economically or lose backing to produce future films. Successful American feature films are mythic, appealing to shared values of a broad spectrum of viewers. To avoid being partial and unbalanced, academics must add considerations of mythic and dramatic elements to appraisals of films. These discussions should also account for practical considerations faced by filmmakers. Latino filmmakers should not necessarily heed calls for their films to offer more in-depth social critique. Films that swing too far in this direction reach a small audience and preach to the converted, though films can at times be constructed to work at multiple levels. The main function of a successful feature film is to reinforce worthwhile but noncontroversial values." [from ABC-CLIO America: History & Life]

Baugh, Scott L.
"Changing of the Guard: Pinche Pintas and "Family"/Familia in Contemporary Chicano Film." Journal of Film and Video. Summer 2003. Vol. 55, Iss. 2/3; p. 3 (19 pages)
UC Berkeley users only

Beltrán, Mary
"Dolores Del Rio, the First "Latin Invasion," and Hollywood's Transition to Sound." Aztlán Volume 30, Number 1 / Spring 2005
UC users only

Beltrán, Mary
"The Hollywood Latina Body as Site of Social Sturggle: Media Constructions of Stardom and Jennifer Lopez's "Cross-over Butt"." Quarterly Review of Film and Video, Volume 19 Issue 1 2002
UC users only

Blades, Ruben.
"The Politics Behind the Latino's Legacy." (Latino portrayals in motion pictures and television) New York Times v141, sec2 (Sun, April 19, 1992):H31(N), col 1, 30 col in.

Brayton, Sean.
"Mexican' labor in the Hollywood imaginary." International Journal of Cultural Studies, Dec2008, Vol. 11 Issue 4, p459-476, 18p

Bruce-Novoa, Juan(ed. and introd.)
"Hispanic Film."Post Script, vol. 16 no. 1. 1996 Fall.

Campa, Roman de la.
"Latin Lessons: Do Latinos Share a World. . .or a Word?" Transition: An International Review vol. 63. 1994. pp: 60-76.

Chagollan, Steve.
"Hollywood's one-way mirror: paucity of Latinos in front of and behind camera falls short of reality."Variety v369, n2 (Nov 17, 1997):S5 (2 pages).
Statistics indicate that Latinos as consumers comprise a larger share of the American population. Their population has mushroomed by 450% during the last quarter of the 20th century increasing from 14% in 1970 to 38% by 1996. However, their presence in the motion picture industry is negligible.

Cohn, Lawrence.
"Latino Pix Have Crossover Dreams." Variety v346, n11 (March 30, 1992):5 (2 pages).
Hispanic filmmakers are hoping to achieve broad audiences for their films, and such pictures as 'American Me' and 'La Bamba' have proven that Mexican-American themes can appeal to filmgoers. Some producers see headway, but Hollywood is still overly cautious about funding such films.

Cole, Melanie.
"Where are They Now: Hispanic Revisits Celebrities of the Sixties and Seventies."Hispanic v10, n10 (Oct, 1997):44 (5 pages).

Corliss, Richard.
"Born in East L.A.; Hollywood Can Be a Tough Town for Non-Anglos." (Special on Hispanic Americans) Time v132, n2 (July 11, 1988):66 (2 pages). e v132, n2 (July 11, 1988):66 (2 pages).

Dell'Agnese, Elena
" The US–Mexico Border in American Movies: A Political Geography Perspective." Geopolitics; Summer2005, Vol. 10 Issue 2, p204-221, 18p
UC users only

Esparza, Elia.
"Tragic Comedies; How ChronicNetwork Stereotyping Dooms Latino Sitcoms."Hispanic v10, n3 (March, 1997):48 (4 pages).

Espinosa, Paul.
"The Rich Tapestry of Hispanic America is Virtually Invisible on Commercial TV."Chronicle of Higher Education v44, n6 (Oct 3, 1997):B7 (2 pages).

Feder, Elena.
"Beyond the homeland: a comparative introduction to Latino film in Canada and the U.S." CineAction Spring 2003 i61 p40(12) (10828 words)

Fernandez, Enrique.
"Spitfires, Latin Lovers, Mambo Kings." (analysis of Hispanic stereotypes in motion pictures, music and other art forms) New York Times v141, sec2 (Sun, April 19, 1992):H1(N), col 1, 52 col in.

Fitzgerald, Kate
"Latino Lifestyle Missing From English-Language Fare; Untapped Gold Mine: In Film And Music Industries, There Have Been Advances, But TV Interest Lags." (Statistical Data Included) Advertising Age August 30, 1999 pS18 (1284 words)

Flanagan, Martin
"Process of Assimilation: Rodriguez and Banderas, from El Mariachi to Desperado." Ixquic: Revista Hispanica Internacional de Analisis y Creacion. 3: 41-59. 2001 Dec.

Flanagan, Maureen M.
"Liberation On and Of the Screen: The New Cinematic Latino." Sync: The Regent Journal of Film and Video Volume 1, Number 2 Spring 1994
UC users only

Fregoso, Rosa Linda.
"Homegirls, Cholas, And Pachucas In Cinema: Taking Over The Public Sphere." California History 1995 74(3): 316-327.
"Analyzes pachuca-chola-homegirls who rebel against the traditional stereotype of Hispanic females by challenging the gendered structure of families and acting and speaking in the public sphere in addition to displaying their sexuality. Until recently the view of Chicanas as pachucas, cholas, and homegirls has been neglected in films with Mexican-American themes. The film Mi Vida Loca (1994), although criticized for such things as negative stereotyping, is the first to focus on the experiences of homegirls, detailing "gangsta" life in Echo Park, Los Angeles. Despite neglect and stereotyping, the pachuca-chola-homegirl remains an important figure in Chicano history that merits further study." [from ABC-CLIO America: History & Life]

Fullerton, Jami A., Alice Kendrick.
"Portrayal Of Men and Women In U.S. Spanish-Language Television Commercials." (Statistical Data Included) Journalism & Mass Communication Quarterly Spring 2000 v77 i1 p128(15)

Garza de Cortes, Oralia.
"Behind the Golden Door: The Latino Immigrant Child in Literature and Films for Children." Multicultural Review. 4(2):24-27, 59-62. 1995 June

Gomez, G.
"Homocolonialism: Looking for Latinos in Apartment Zero and Paris is Burning." Post Script XIV/1-2, Winter-Spring 94-95; p.117-124. illus., bibliogr.
Discusses the portrayal of homo-eroticism and sexuality among Latin Americians in "Apartment Zero" and "Paris is Burning".

Griffith, Albert J.
"The Scion, the Senorita, and the Texas Ranch Epic: Hispanic Images in Film." The Bilingual Review/La Revista Bilingue, vol. 16 no. 1. 1991 Jan-Apr. pp: 15-22.
UC users only

Gutierrez, Gabriel.
"Deconstructing Disney: Chicano/A Children And Critical Race Theory." Aztl?n 2000 25(1): 7-46.
"The Walt Disney Company's ideological program shifted from conservatism in the 1930's-70's to liberal multiculturalism in the 1990's. Disney's liberal multicultural agenda included ventures into the US Spanish-speaking market, the inclusion of racially diverse characters in some productions, the use of celebrity voices like that of comedienne Whoopi Goldberg in animation films, the creation of films about nonwhites such as Mulan, the character Ellen's revelation of her homosexuality on the American Broadcasting Company's (bought by Disney) television show titled Ellen, the inclusion of domestic partners in its health insurance plan, the Gay Day promotion at Disney World, and the distribution of toy giveaways at Christmastime to inner-city advocacy groups. Yet embedded in Disney's multicultural agenda is the message that diversity may exist "only if it is subordinated to dominant ideals," that is, those who are different should assimilate or acculturate. Disney's message of conformity is readily apparent in the animated film The Lion King." [America History and Life]

Harmetz, Aljean.
"Hollywood is Wooing the Hispanic Moviegoer." New York Times v136 (Sat, July 18, 1987):12(N), 9(L), col 1, 24 col in.

Hoffman, Donald.
"Whose Home on the Range? Finding Room for Native Americans, African Americans, and Latino Americans in the Revisionist Western."MELUS, vol. 22 no. 2. 1997 Summer. pp: 45-59
UC Berkeley users only
"Attempts to reinsert authentic portrayals of Native Americans, African Americans, and Latino Americans into contemporary films have had varying degrees of success. Kevin Costner's 'Dances With Wolves' shows Indian civilization as threatened by barbaric whites, but portrays white perception of Indians rather than native culture. Mario Van Peebles's 'Posse' is more authentic, but often opts for gratuitous sex and violence. Edward James Olmos's 'The Ballad of Gregorio Cortez' examines cultural conflict believably." [Expanded Academic Index]

Jeffries, Georgia
"Low riders of Whittier Boulevard." American Film v 4 Feb 1979. p. 58-62

Jenrette, Jerra; McIntosh, Sherrie; and Winterberger, Suzanne.
"Carlotta!" Changing Images of Hispanic-American Women In Daytime Soap Operas." Journal of Popular Culture 1999 33(2): 37-48.
"Examines the stereotypical typecasting of Hispanic-American female characters in daytime soap operas during the 1980's-90's and discusses the impact these portrayals have on the public's perspective of Hispanic Americans as a whole. Some improvements have occurred but Hispanic-American characters are still marginalized in the storylines of most daytime soap operas. For decades the television and film industry perpetuated negative stereotypes of Hispanic Americans and it was not until the 1980's that daytime television tried to incorporate a Hispanic-American family into its programming. Since television contributes to shaping societal attitudes, daytime soap operas could help improve the way whites view Hispanic Americans if they reflected the diversity that exists in North American society." [American: History and Life]

"The Latino Experience on Film. (Brief Article)
Hispanic May 2001 v14 i5 p64

"Latinos hardly visible on prime-time television, UCLA study finds." (noteworthy news). (research conducted by Chicano Studies Research Center) Black Issues in Higher Education May 22, 2003 v20 i7 p16(1)
UC users only

Lew, Julie.
"Hispanics and the Hollywood Hustle; the latest attempts to tap demographic trends." (motion pictures)Washington Post v114 (Sun, Sept 1, 1991):G1, col 1, 38 col in.

Limon, Jose E.
"Stereotyping And Chicano Resistance: An Historical Dimension."Aztl?n 1973 4(2): 257-270.
Discusses denigrating stereotypes attached to Mexican Americans from the beginning of the 20th century through literature and film and the attacks which Chicano media have made against these stereotypes.

Llano, Todd.
"Movie Maze: How Hispanic Films Make It to the Big Screen."(Cover Story) Hispanic v8, n6 (July, 1995):22 (4 pages).
Hispanic films are slowly gaining notice among the moviegoing public. In the summer of 1995 alone, five major films tackling Hispanic themes will be shown in local theaters. The trend toward Hispanic films is attributed to the growing number of Hispanics in the US, estimated at nearly 30 million.

Marez. Curtis
"Subaltern Soundtracks: Mexican Immigrants and the Making of Hollywood Cinema." Aztlán Volume 29, Number 1 / Spring 2004
UC users only

Martin-Rodriguez, Manuel M.
"Hyenas in the Pride Lands: Latinos/as and Immigration in Disney's The Lion King." Aztlán 25.1 (Spring 2000): 47-66.
UC users only

Menard, Valerie.
"Luscious Latinas: The Pros and Cons of an Evolving Stereotype." (portrayal of Latin American women)(Cover Story)Hispanic v10, n5 (May, 1997):20 (5 pages).
Latin American women are portrayed either positively, as being sexy and powerful, or negatively, as being oversexed and rowdy or gullible and passive. Latinas tend to play the roles of sex objects, illegal immigrants or maids in motion pictures, which promote stereotypes.

Monroy, Douglas.
"'Our Children Get So Different Here': Film, Fashion, Popular Culture, And The Process Of Cultural Syncretization In Mexican Los Angeles, 1900-1935."Aztlán 1988-90 19(1): 79-108.
"During 1914-35 several graduate students at the University of Southern California wrote master's theses about the Mexicans of Los Angeles during the interwar period, based largely on interviews with immigrants. These theses, a rich source of information concerning the ways in which Mexican immigrants adapted to and changed the culture of their new homeland, specifically examine Mexican youth and new images, marriage and family, and ambivalence about life in America." [from ABC-CLIO America: History & Life]

Moore, Daniel S.
"'95 a Watershed for Latinos in H'wood." (motion picture industry)(Latin America Survey)Variety v358, n8 (March 27, 1995):43 (3 pages).
With the success of the film 'Like Water for Chocolates,' opportunities for Latinos in the US motion picture industry opened up. Several Latin American directors and actors are interviewed and the expanded presence of Latinos in the US film industry is discussed.

Mora, Sergio de la.
"Chicanos And Film: A Re/View Of The Field." Studies in Latin American Popular Culture 1995 14: 287-295.
"In Chicanos and Film: Representation and Resistance (1992), editor Chon Noriega provides a rich and refreshing interpretive model through which to analyze the social, cultural, and historical forces influencing Chicano cinema, especially its struggles and relationships with the more dominant film industries in Hollywood and Mexico." [from ABC-CLIO America: History & Life]

Morales, Ed.
"Shadowing Valdez." (Luis Valdez's role in current Chicano theater and film) American Theatre v9, n7 (Nov, 1992):14 (6 pages).

Navarro, Mireya
"Trying to get beyond the role of the maid." (The Arts)(Hispanic actors) The New York Times May 16, 2002 pB1(N) pE1(L) col 2 (65 col in)

Nericcio, William Anthony.
"Autopsy of a Rat: Odd, Sundry Parables of Freddy Lopez, Speedy Gonzales, and Other Chicano/Latino Marionettes Prancing about Our First World Visual Emporium." Camera Obscura, vol. 37 1996 Jan. pp: 189-237.
UC users only
"The writer discusses the representation of Hispanic stereotypes in the media. In the current mass media in the U.S., there is a network of signs that represent the various peoples, cultures, corporations, and institutions that are usually homogenized, totalized, and subsumed under the term "Latino/a." The writer points out that this lexicon of stereotypical character traits includes such attributes as laziness, sensuality, and banditry. He examines some examples of these telling historical visual and linguistic artifacts and the aesthetic and historical series of events that gave them meaning. Discussing how the syntax of mass culture reimagines and restores these visually potent tropes on a regular basis, he asserts that, although these are not representations of anything near reality, the viewer eventually becomes what is viewed." [Art Index]

Noriega, Chon A.
"The Aztlán Film Institute's Top 100 List." Volume 23, Number 2 / Fall 1998
UC users only

Noriega, Chon A.
"Chicano Cinema And The Horizon Of Expectations: A Discursive Analysis of Film Reviews in the Mainstream, Alternative, and Hispanic Press, 1987-1988." Aztlán 1988-90 19(2): 1-32.
UC users only
"During 1987-88 Hollywood released four films dealing with Chicanos: La Bamba, Born in East L.A., The Milagro Beanfield War, and Stand and Deliver. Mainstream publications depicted these films as quite a different phenomenon than did the alternative and Hispanic press. Foremost among the differences was the perception of the barrio, the mainstream seeing it as a slum rather than an ethnic neighborhood. The mass media treatment of these "Hispanic Hollywood" films undoubtedly influenced their public reception, as is the case with virtually all major film productions. Whether these films marked the beginning of an increase in the number of films with predominantly Hispanic themes remains to be seen. [from ABC-CLIO America: History & Life]

Noriega, Chon A.
"Chicano Cinema and the Horizon of Expectations: A Discursive Analysis of Film Reviews in the Mainstream, Alternative and Hispanic Press, 1987-1988." Aztlán: A Journal of Chicano Studies, vol. 19 no. 2. 1988-1990. pp: 1-32.

Noriega, Chon.
"Citizen Chicano: The Trials and Titillations of Ethnicity in the American Cinema, 1935-1962." (Culture and Politics) Social Research v58, n2 (Summer, 1991):413 (26 pages).
UC users only
Ten social-problem films produced from 1935 to 1962 examined Mexican American issues. It was a period when Mexican Americans were pursuing a path of accommodation and assimilation. The Production Code Administration followed the era's politics of denial, censoring both derogatory stereotypes of Mexicans and criticisms of discrimination in American society. The films typically deal with violence resolved through a fight or a trial, returning the hero to the barrio; intermarriage is also a common theme.

Noriega, Chon A.
"Getting Personal." Aztlán 2001 26(2): 1-30.
UC users only
"Combines a biographical history of Chicano filmmaker Willie Varela (b. 1950) with an overview of the related issue of the personal and the political in American avant-garde film. The article also analyzes Varela's first video and first narrative, A Lost Man (1992), a departure from his twenty years of making Super-8 documentaries. Its genre mixing and gender bending create a revisionist autobiography of the filmmaker in the contrasting contexts of the Americas and of two alternative film movements, the personal New American Cinema and the politically motivated New Latin American Cinema." [America History and Life]

Noriega, Chon A.
"U.S. Latinos and the Media. Theory and Practice." (Special Section). Jump Cut /39, June 94; p.57-112.
On Latinos and the media, offering alternative readings of Hollywood films; statements and interviews with individuals involved in the Chicano media movement; and a discussion of civil rights issues.

Olivas, Michael A.
"Of pachucos, yeguas, greasers, and coffee and eggs: Chicanos and film criticism." Bilingual Review, Jan-Apr1994, Vol. 19 Issue 1, p75, 3p
UC users only
Criticizes the book `Chicanos and Film: Essays on Chicano Representation and Resistance,' edited by Chon A. Noriega. Need for Chon A. Noriega's expertise; Account of the book `Chicano Cinema: Research, Reviews, and Resources,' by Gary Keller; Insufficiency of Noriega's contributions to the book.

Olsson, Jan
"Hollywood's first spectators: notes on ethnic nickelodeon audiences in Los Angeles." (Los Angeles, California) Aztlan - A Journal of Chicano Studies Spring 2001 v26 i1 p181(15)
"Latinos represented approximately 1% of Los Angeles,California's population in 1900 but came by 1911 to form a substantial part of the audience for motion pictures. Nickelodeons, or film theaters charging 5 cents for admission, tended to attract Latino and other ethnic audiences." [Expanded Academic Index]

Ortiz, Christopher
"Hot and Spicy." Jump Cut /39, June 94; p.83-90.
On the representation of Chicano and Latino men in gay pornography.

Perez-Torres, Rafael.
"Chicano Ethnicity, Cultural Hybridity, and The Mestizo Voice." American Literature 1998 70(1): 153-176.
"The concept of mestizaje, racial mixture, integral to Mexican nationalism, conflicts with the traditional white-black racial paradigm of the United States. For Chicanos, mestizaje is far more than a physiological trait; it is a key to maintaining identity. The dominant US perspective of the subject is seen in the 1956 film Giant, where eastern and western Anglo Americans unite and eventually uphold Chicanos within a liberal democracy. Poet Tino Villanueva comments on this simplistic view in Scene from the Movie "Giant." Oscar "Zeta" Acosta recounts his ingrained obsession with skin color in The Autobiography of a Brown Buffalo and his emancipation from it in The Revolt of the Cockroach People (1973). The poems of Lorna Dee Cervantes, such as "Crow" (1981) and "Refugee Ship" (1981), explore a mestizaje otherness." [from ABC-CLIO America: History & Life]

Perez-Torres, Rafael.
"Chicano Ethnicity, Cultural Hybridity, And The Mestizo Voice." American Literature 1998 70(1): 153-176.
UC users only
"The concept of mestizaje, racial mixture, integral to Mexican nationalism, conflicts with the traditional white-black racial paradigm of the United States. For Chicanos, mestizaje is far more than a physiological trait; it is a key to maintaining identity. The dominant US perspective of the subject is seen in the 1956 film Giant, where eastern and western Anglo Americans unite and eventually uphold Chicanos within a liberal democracy. Poet Tino Villanueva comments on this simplistic view in Scene from the Movie "Giant." Oscar "Zeta" Acosta recounts his ingrained obsession with skin color in The Autobiography of a Brown Buffalo and his emancipation from it in The Revolt of the Cockroach People (1973). The poems of Lorna Dee Cervantes, such as "Crow" (1981) and "Refugee Ship" (1981), explore a mestizaje otherness." [America History and Life]

Ramirez Berg, Charles.
"Stereotyping in Films in General and of the Hispanic in Particular." The Howard Journal of Communications, vol. 2 no. 3. 1990 Summer. pp: 286-300.

Rangil, Viviana
"Stereotypes but . . . : Gender Roles in Contemporary Latin Cinema." Afterimage v. 30 no. 3/4 (Winter 2002) p. 8-9
UC users only
"The writer discusses the portrayal of gender roles in two contemporary Latin American films. In Hollywood films, Latinas or Latinos are not presented very often, and when they are it is typically portrayed in a predictable and often unfavorable light. However, Latina/o independent filmmakers are taking the issue of (re)presentation into their own hands, and the results have yielded innovative portraits of Latinas in particular, who lead complex and multifaceted lives. These filmmakers are employing the well-known representational strategy of stereotyping to examine gender roles, family expectation, and assimilation. Two films in particular--Luminarias by Jose Luis Valenzuela and Rum and Coke by Maria Escobedo--express as well as develop scenes of social conflict and contradiction, disrupting the perception of Latinas/os as social problems as they present powerful and successful Latinas. The films' narrative structures and the power structures represented in them propose representations that interpellate both the real and the stereotypical. The writer goes on to examine these films in detail." [Art Index]

Robinson, Cedric J.; Cabral, Luz Maria.
"The mulatta on film: From Hollywood to the Mexican revolution." Race & Class. Oct-Dec 2003. Vol. 45, Iss. 2; p. 1
UC users only

Rodriguez, A.
"Creating an audience and remapping a nation: a brief history of US Spanish language broadcasting 1930-1980." Quarterly Review of Film and Video v. 16 no. 3/4 (1999) p. 357-74

Saragoza, Alex M.
"The Border In American And Mexican Cinema." Aztlan 1992-96 21(1-2): 155-190.
"Film has been crucial to formation of US-Mexican border images, which reflect the chasm between two nations that have opposing views of one another. A study of films made in the United States and Mexico throughout the 20th century shows the border region, as expressed in film, remains hostage to the conflict, conquest, and distrust that exist beneath a veneer of accommodation. Late-20th-century economic tensions have enlivened the sense of distance reflected in cinema from both sides." [from ABC-CLIO America: History & Life]

Solórzano-Thompson, Nohemy.
"Being Edward James Olmos: Culture Clash and the Portrayal of Chicano Masculinity." Studies in 20th & 21st Century Literature, Summer2008, Vol. 32 Issue 2, p444-462, 19p
UC users only

Stark, Steven D.
"Hispanic Images Enter Pop Culture." New York Times v137 (Thu, Nov 12, 1987):19(N), col 3, 21 col in.

Stern, Gary M.
"Why the Dearth of Latino Directors?" Cineaste, vol. 19 no. 2-3. 1992. pp: 45-47.
Explores why Latino directors have few opportunities to direct Hollywood films.

Sturtevant, Victoria.
"Spitfire: Lupe Vélez and the Ambivalent Pleasures of Ethnic Masquerade." Velvet Light Trap. Spring 2005. p. 19 (14 pages)
UC users only

Taylor, Diana.
"The Representation of Otherness in Chicano and Latin American Theatre and Film: Conference and Theatre Festival." Theatre Journal v43, n3 (Oct, 1991):377 (3 pages).

Trevieo, Jeses S.
"Latino portrayals in film and television." Jump Cut; nr.30 (Mar 1985); p.14-16
Surveys the image of Latin American characters in US films and tv.

UCLA study examines minority representation in network television." (noteworthy news). (Brief Article) Black Issues in Higher Education July 4, 2002 v19 i10 p16(1)
UC users only

Valdez, Daniel and Valdez, Luis; Gross, Terry, interviewer.
"Interviews With Daniel Valdez And Luis Valdez." San Jose Studies 1993 19(1): 53-59.
"Presents transcripts from interviews by Public Broadcasting Service station WHYY, Philadelphia, in which playwright and director Luis Valdez and his brother, actor-associate producer Daniel Valdez, discuss their lives, their 1987 film La Bamba, and their feelings about its subject, Mexican-American singer Ritchie Valens." [from ABC-CLIO America: History & Life]

Valdivia, Angharad N.
"Stereotype or transgression? Rosie Perez in Hollywood film." (actress) The Sociological Quarterly Summer 1998 v39 n3 p393(16)
Author's Abstract: COPYRIGHT 1998 University of California Press "Through a four-pronged methodology which includes textual analyses of the films, film reviews, and interviews with Rosie Perez as well as possible spectatorship positions to Rosie Perez films, the author examines the construction of Latinas in Hollywood film, especially in regard to traditional ethnic stereotypes. In addition, the author ventures into an understudied area of scholarship--namely the consideration of active audience and Latinas/Latinos. This combined methodology which examines both representation and interpretations--that is the production of meaning both at the sending and reception of popular culture--allows for a complicated reading of what Rosie Perez might mean to different segments of the audience." [Expanded Academic Index]

Valenzuela, Eduardo A.
"No se habla Espanol in outer space?" (lack of Hispanic American characters in science-fiction films or television shows)(Column) Hispanic v10, n4 (April, 1997):40.
There are few Hispanic American characters in science-fiction movies or television shows. The small number of characters who are Hispanic American are either killed or are of mixed race. Hispanic Americans should demand more representation from major executives such as George Lucas.

Varela, Willie.
"Chicano Personal Cinema." Jump Cut. 39:96-99. 1994

Vasey, Ruth.
"Foreign Parts: Hollywood's Global Distribution and the Representation Of Ethnicity." American Quarterly 1992 44(Dec): 617-642.
"During the 1920's-30's a significant portion of Hollywood's profits came from the global distribution of its films. Many of those films presented ethnic stereotypes that if found offensive to certain ethnic groups or countries crimped profits abroad. This subtle form of censorship caused movie makers to choose the ethnicity of their characters and villains wisely. Mexican and South American villains were particularly popular. Western European nations with large empires (such as Britain and France) would block distribution not only at home, but in current and former colonies. The onset of World War II created new alliances with the government and a whole set of natural villains." [from ABC-CLIO America: History & Life]

Valenzuela, Eduardo A.
"No se habla Espanol in outer space?" (lack of Hispanic American characters in science-fiction films or television shows)(Column) Hispanic v10, n4 (April, 1997):40 (1 page).
There are few Hispanic American characters in science-fiction movies or television shows. The small number of characters who are Hispanic American are either killed or are of mixed race. Hispanic Americans should demand more representation from major executives such as George Lucas.

Villegas, Juan (ed.)
"Representation of Otherness in Latin American and Chicano Theater and Film." Gestos: Teoria y Practica del Teatro Hispanico, vol. 6 no. 11. 1991 Apr.

Weinraub, Bernard.
"Spinning a Grim Coming-of-age Tale." (Taylor Hackford discusses his film on violent lives of three Chicano youths from East Los Angeles, 'Bound by Honor') (Living Arts Pages) New York Times v142 (Wed, April 21, 1993):B1(N), C15(N), col 3,

West, Dennis.
"Cheech Cleans Up His Act." Cineaste, vol. 16 no. 3. 1988. pp: 34-47.

Williams, Linda.
"Type And Stereotype: Chicano Images In Film." Frontiers 1980 5(2): 14-17.
UC users only
"Discusses stereotypes of Mexican Americans in American films as villians, dope addicts, and sex fiends, focusing on Let Katie Do It (1915), Martyrs of the Alamo (1915), and Moctezuma Esparsa's Only Once in a Lifetime (1978); two films not stereotypical are Salt of the Earth (1953) and Alambrista! (1978)." [from ABC-CLIO America: History & Life]

Yosso, T. J.
"Critical race media literacy: challenging deficit discourse about Chicanas/os." Journal of Popular Film and Television v. 30 no. 1 (Spring 2002) p. 52-62
UC users only
"Drawing on critical race theory and the Freirean critical literacy process, the author links media literacy with a project of social justice. The author utilizes entertainment media as a pedagogical tool to analyze the intersections of race, gender, and class subordination; challenge deficit discourse; and raise social consciousness. Reprinted by permission of the publisher." [Art Index]

Reviews and Articles About Individual Films in the MRC Collection

American Me

Baugh, Scott L.
"Changing of the Guard: Pinche Pintas and "Family" / Familia in Contemporary Chicano Film." Journal of Film and Video v. 55 no. 2/3 (Summer/Fall 2003) p. 3-21
UC Berkeley users only
"The writer compares American Me, a film directed by Edward James Olmos, and My Family, a film directed by Gregory Nava. These films demonstrate the confluence of historical and traditional conceptions of Chicanos, Chicanas, and the "families" of which they are part. Consequently, they both reflect pluralistic and negotiative methods of characterization and identification. By emulating the myth of the macho-based Chicano family, however, American Me exemplifies how contemporary Chicano film stereotypes disable pluralistic discourse. In contrast, My Family portrays the Chicano family as a symbol of unity within diversity, and promotes cultural identification throughout America. Incorporating divergent cultural codes to depict the diversity of the Chicano community, ultimately both films exemplify how films and other media convey Chicano culture and address mass audiences using multicultural aesthetics." [Art Index]

Canfield, R.
"Joaqiun Orale - Arresting the Dissemination of Violence in 'American Me'Journal Of Popular Film and Television, 1994 Summer, V22 N2:60-68.
UC Berkeley users only
"Part of a special issue on actress Lillian Gish. The writer discusses Edward James Olmos's American Me. The film appears to be a continuation of several of the conflicts and personae of Luis Valdez's film Zoot Suit, bringing the tensions surrounding Latino communities from the 1940s-1980s to the 1990s and representing current phenomena--such as drive-by shootings--as developments of the zoot suit riots in 1943. Issues of identity, revolution, and mimesis itself make the film an appropriate and powerful heir to other genres and works from those "other" Americas, while also depicting the disturbing nature of the variety of borders that still oppress Latinos and other neocolonized groups. Although it may be true that Olmos re-represents violent images for Chicano youths that might be misinterpreted, we realize that the alternative would perhaps be a misrepresentation of an otherwise "true story."." [Art Index]

Denby, David.
"American Me." (movie reviews) New York v25, n12 (March 23, 1992):60.

Huaco-Nuzum, C.
"Despair in the Barrio." Jump Cut /38, June 93; p.92-94. A discussion of race and sexuality in "American Me".

Johnson, Brian D.
"American Me." (movie reviews) Maclean's v105, n12 (March 23, 1992):51.

Kauffmann, Stanley.
"American Me." (movie reviews) New Republic v206, n13 (March 30, 1992):26 (2 pages).
UC Berkeley users only

Kroll, Jack.
"American Me." (movie reviews)Newsweek v119, n13 (March 30, 1992):66 (2 pages).

Levinson, Brett
"Towards a Psychoanalysis of Culture: Sex, Nation, and the Praxis of the Liminal in American Me and The Labyrinth of Solitude." Post Script: Essays in Film and the Humanities, vol. 16, no. 1, pp. 13-33, Fall 1996

Martinez, Elizabeth Coonrod.
"The Mexicano/Chicano Search for Identity in the Films Los de abajo and American Me." Anuario de Cine y Literatura en Espanol: an International Journal on Film & Literature. 1:17-28. 1995

Maslin, Janet.
"American Me." (movie reviews)New York Times v141 (Fri, March 13, 1992):B9(N), C6(L), col 5,

Mazon, Mauricio.
"American Me." (movie reviews)American Historical Review v98, n4 (Oct, 1993):1188 (2 pages).

McCarthy, Todd.
"American Me." (movie reviews)Variety v346, n9 (March 16, 1992):59.

Newman, Kathleen.
"Reterritorialization in Recent Chicano Cinema: Edward James Olmos's American Me (1992)." In: The Ethnic Eye: Latino Media Arts Edited by Chon A. Noriega and Ana M. Lopez. pp: 95-106. Minneapolis, Minn.: University of Minnesota Press, c1996.
UCB Main PN1995.9.L37 E84 1996

And the Earth Did Not Swallow Him

Kamiya, Gary.
"And the Earth Did Not Swallow Him" (movie reviews). San Francisco Examiner, Sept. 22, 1995; Page C 3.

Stack, Peter.
"And the Earth Did Not Swallow Him" (movie reviews). San Francisco Chronicle, Friday, September 22, 1995; Page C13

The Ballad of Gregorio Cortez

Dockser, Amy.
"Making Sure There Are Alternatives: The Ballad of Edward James Olmos, Tom Bower, and Gregorio Cortez."Imagine: International Chicano Poetry Journal, vol. 1 no. 1. 1984 Summer. pp: 1-9.

Elitzik, Paul
"The Ballad of Gregorio Cortez." (Review+Interview). Cineaste XIII/4, 84; p.38,39-41.
Robert M. Young talks about "The Ballad of Gregorio Cortez", and his filmmaking.

Gutierrez-Jones, Carl.
"Legislating Languages: The Ballad of Gregorio Cortez and the English Language Amendment." In: Chicanos and Film: Representation and Resistance / edited by Chon A. Noriega. pp: 195-206. Minneapolis: University of Minnesota Press, c1992.
Moffitt PN1995.9.M49.C49 1992
Chicano Studies Lib. PN1994.C65 1992

Jacobson, B.
"Regional film: a strategic discourse in the Global Marketplace." Journal of Film and Video XLIII/4, Winter 91; p.18-32.
Surveys a number of independent US films produced since the 1970's which operate outside the Hollywood system and focus on the life and customs of regional communities; "The Ballad of Gregorio Cortez" and "The Thin Blue Line" used as examples.

Rosen, David.
"Crossover: Hispanic Specialty Films in the U.S. Movie Marketplace." In: Chicanos and Film: Representation and Resistance / edited by Chon A. Noriega. pp: 241-60. Minneapolis: University of Minnesota Press, c1992.
Moffitt PN1995.9.M49.C49 1992
Chicano Studies Lib. PN1994.C65 1992

Sorell, Victor A.
"Ethnomusicology, Folklore, and History in the Filmmaker's Art: The Ballad of Gregorio Cortez." In: Chicano Cinema: Research, Reviews, and Resources/ edited by Gary D. Keller. pp: 153-158. Binghamton, N.Y.: Bilingual Review/Press, c1985.
Main Stack PN1995.9.M49.C47 1985
Moffitt PN1995.9.M49.C47 1985
Chicano Stu P90.C499 1985

Born In East L.A.

Atkinson, Terry.
"Born in East L.A." (video-tape reviews)Los Angeles Times v104, secC (Sun, Sept 15, 1985):60, col 1, 3 col in.

Barrera, Mario.
"Missing The Myth: What Gets Left Out Of Latino Film Analysis."Perspectives in Mexican American Studies 1997 6: 168-194.
"Examines three films with Mexican-American themes, La Bamba (1987), Born in East L.A. (1987), and El Norte (1983), from the viewpoints of the filmmaker and the academic critic. Feature filmmakers construct films as drama, at the heart of which is emotional audience response. Academics interpret films primarily through an intellectual lens, paying little or no attention to constraints faced by filmmakers who must create films that are successful economically or lose backing to produce future films. Successful American feature films are mythic, appealing to shared values of a broad spectrum of viewers. To avoid being partial and unbalanced, academics must add considerations of mythic and dramatic elements to appraisals of films. These discussions should also account for practical considerations faced by filmmakers. Latino filmmakers should not necessarily heed calls for their films to offer more in-depth social critique. Films that swing too far in this direction reach a small audience and preach to the converted, though films can at times be constructed to work at multiple levels. The main function of a successful feature film is to reinforce worthwhile but noncontroversial values." [from ABC-CLIO America: History & Life]

Fregoso, Rosa Linda.
"Humor as Subversive De-construction: Born in East L.A. (1987)." In: The Bronze Screen: Chicana and Chicano Film Culture / Rosa Linda Fregoso. Minneapolis: University of Minnesota Press, c1993.
UCB Chicano PN1994 .F8
UCB Main PN1995.9.M49 F74 1993
UCB Moffitt PN1995.9.M49 F74 1993

Fuentes, Victor.
"Chicano Cinema: A Dialectic between Voices and Images of the Autonomous Discourse versus Those of the Dominant." In: Chicanos and Film: Representation and Resistance / edited by Chon A. Noriega. pp: 207-17. Minneapolis: University of Minnesota Press, c1992.
Moffitt PN1995.9.M49.C49 1992
Chicano Studies Lib. PN1994.C65 1992

Gaspar de Alba, Alicia.
"Born in East L.A.: An Exercise in Cultural Schizophrenia." In: The Latino/a condition : a critical reader / edited by Richard Delgado and Jean Stefancic. New York : New York University Press, c1998.
Moffitt E184.S75.L355 1998
Chicano Stu HN92.L279 1998

Gaspar de Alba, Alicia.
"Rights of Passage: From Cultural Schizophrenia to Border Consciousness in Cheech Marin's Born in East L.A." In: Velvet barrios : popular culture & Chicana/o sexualities / edited by Alicia Gaspar de Alba ; foreword by Tomas... 1st ed. New York ; Houndmills, Basingstoke : Palgrave Macmillan, 2003. New directions in Latino American cultures.
Bancroft E184.M5.V351 2003

Graves, Peter.
"Born in the East. Index on Censorship." 21 (1): 12-14. 1992 Jan.

James, Caryn.
"Born in East L.A." (movie reviews)New York Times v136 (Mon, Aug 24, 1987):13(N), C14(L), col 1, 10 col in.

List, Christine.
"Self-Directed Stereotyping in the Films of Cheech Marin." In Chicanos and Film. Edited by Chon A. Noriega. New York: Garland Pub., 1992.
Moffitt PN1995.9.M49.C49 1992
Main Stack PN1995.9.M49.N67 1992

Noriega, Chon A.
"Waas-Sappening, Narrative Structure And Iconography In 'Born In East L.A."Studies In Latin American Popular Culture, 1995, V14:107-128.

O'Conner, Patricia T.
"Born in East L.A." (video recording reviews)New York Times v137, sec2 (Sun, May 22, 1988):H30(N), H30(L), col 4, 5 col in.

Tafoya, Eddie.
"Born in East L.A.: Cheech as the Chicano Moses." (movie starring Cheech Martin)(Los Angeles)Journal of Popular Culture v26, n4 (Spring, 1993):123 (7 pages).

West, Dennis.
"Cheech Cleans Up His Act." Cineaste, vol. 16 no. 3. 1988. pp: 34-47.

Colors

Ansen, David.
"Colors." (movie reviews) Newsweek v111, n16 (April 18, 1988):73.

Bell, Alan.
"Colors." (movie reviews)Los Angeles Times v107, secII (Mon, April 18, 1988):7, col 1, 16 col in.

Biskind, Peter.
"Colors." (movie reviews) Nation v246, n17 (April 30, 1988):619 (2 pages).

Corliss, Richard.
"Colors." (movie reviews) Time v131, n16 (April 18, 1988):82. <

Denby, David.
"Colors." (movie reviews) New York v21, n16 (April 18, 1988):100 (3 pages).

Johnson, Brian D.
"Colors." (movie reviews) Maclean's v101, n18 (April 25, 1988):59.

Kael, Pauline.
"Colors." (movie reviews)New Yorker v64, n11 (May 2, 1988):86 (3 pages).

Kauffmann, Stanley.
"Colors." (movie reviews)New Republic v198, n20 (May 16, 1988):20 (2 pages).

Larner, Jeremy.
"A Movie of Violence." (Colors) (column) Dissent v35, n4 (Fall, 1988):491.

Maslin, Janet.
"Colors." (movie reviews)New York Times v137 (Fri, April 15, 1988):17(N), C4(L), col 1, 20 col in.

Milloy, Courtland.
"Profits Top Responsibility in Hollywood." (controversial movie "Colors" about gangs) (column)Washington Post v111 (Tue, April 19, 1988):D3, col 4, 12 col in.

"Only a Movie." ('Colors') (editorial)
Progressive v52, n6 (June, 1988):8.

Salamon, Julie.
"Colors." (movie reviews)Wall Street Journal (Wed, April 20, 1988):20(W), 20(E), col 2, 8 col in.

La Cuidad

Cowie, Jefferson
"La Ciudad." (The City)(Review) video recording review) Journal of American History Dec 2000 v87 i3 p1169(2)

Larsen, Josh
"La Cuidad." (review) Sojourners, Nov 1999 v28 i6 p63

Sklar, Robert.
"Rediscovering Radical Film Style: An Interview with David Riker ." Cineaste. 24(2-3):6-9. 1999
UC users only
"David Riker's La Ciudad (The City), a critically acclaimed black-and-white, Spanish-language movie made with nonprofessional actors in the Hispanic neighborhoods of New York City, is both traditional and radical. Riker consciously evokes disparate sources, including Depression-era documentary photography and Italian neorealism, in crafting a classical visual style to tell a story of contemporary Latin American immigrants struggling for survival, dignity, and meaningful lives. In an interview, Riker discusses his work, addressing topics such as how the movie came to be made, working in a community that is not his own, his attempt to find a film language that would allow him to talk about political issues, neorealism, his use of music, and the practical implications of filmmaking that entails working on a movie over a number of years." [Art Index]

Waldman, Amy
In Film, Immigrants Bring Real Life To Acting Jobs." Migration World Magazine March 2000 v28 i3 p48 (868 words)

Duel in the Sun

Bale, Miriam
"basic instinct." Film Comment. New York: May/Jun 2008. Vol. 44, Iss. 3; pg. 38, 4 pgs
UC users only

Beinzger, Dagmar. Tillmanns, Julika.
"Quick to Blossom and Early to Die." Frauen und Film. 54-55:125-36. 1994 Apr

Griffith, Albert J.
"The Scion, the Senorita, and the Texas Ranch Epic: Hispanic Images in Film." The Bilingual Review/La Revista Bilingue, vol. 16 no. 1. 1991 Jan-Apr. pp: 15-22.
UC users only

Hulsbus, Monica.
"The Double/Double Bind of Postwar Race and Gender in Duel In The Sun." Spectator: The University of Southern California Journal of Film & Television, Fall/Winter1996, Vol. 17 Issue 1, p80-87, 8p

Mulvey, Laura.
"Afterthoughts on 'Visual Pleasure and Narrative Cinema' Inspired by King Vidor's Duel in the Sun (1946)." In: Feminist film theory: a reader / edited by Sue Thornham. pp: 122-30. New York : New York University Press, 1999. (Grad Svcs PN1995.9.W6.F465 1999; Main Stack PN1995.9.W6.F465 1999)

Wood, Robin.
"Duel in the Sun: The Destruction of an Ideological System Continuum." In: The book of westerns / edited by Ian Cameron and Douglas Pye. pp: 189-95. New York : Continuum, 1996.
Main Stack PN1995.9.W4.B66 1996
Moffitt PN1995.9.W4.B66 1996; Bancroft PN1995.9.W4.B66 1996

Giant

Baxter, Monique James.
"Giant Helps America Recognize the Cost of Discrimination: A Lesson of World War II." In: Hollywood's West : the American frontier in film, television, and history / edited by Peter C. Rolli Lexington : University Press of Kentucky, c2005.
Main (Gardner) Stacks PN1995.9.W4 H58 2005)

Griffith, Albert J.
"The scion, the senorita, and the Texas ranch epic: Hispanic images in film." Bilingual Review, Jan-Apr1991, Vol. 16 Issue 1, p15, 8p
UC users only

Hendler, Jane.
"Slipping from under Me Like a Loose Saddle": The Degeneration of Dynasty in Edna Ferber's Giant.Hendler, Jane ""Slipping from under Me Like a Loose Saddle": The Degeneration of Dynasty in Edna Ferber's Giant." In: Best-sellers and their film adaptations in postwar America : From here to eternity, Sayonara, Giant, Auntie Mame, Peyton Place / Jane Hendler. New York : Peter Lang, c2001.
Main (Gardner) Stacks PN1997.85 .H46 2001

Moss, Marilyn Ann.
Giant : George Stevens, a life on film / Marilyn Ann Moss. Madison, Wis. : Terrace Books, c2004.
Main (Gardner) Stacks PN1998.3.S738 M67 2004

Perez-Torres, Rafael.
"Chicano Ethnicity, Cultural Hybridity, and The Mestizo Voice." American Literature Vol. 70, No. 1 (Mar., 1998), pp. 153-176
UC users only

Smyth, J. E.
"Making Believe: Show Boat, Race, and Romance, 1925-1957." In: Edna Ferber's Hollywood : American fictions of gender, race, and history / J.E. Smyth ; foreword by Austin : University of Texas Press, 2010.
Full text available online (UC Berkeley users only)
Main (Gardner) Stacks PS3511.E46 Z895 2010

El Mariachi

Alleva, Richard.
"El Mariachi." (movie reviews)Commonweal v120, n13 (July 16, 1993):20 (2 pages).

Barrios, Gregg.
"A borrowed camera, $7000 and a dream." (young filmmaker Robert Rodriguez produces 'El Mariachi' on a shoestring budget, wins major studio contract)New York Times v142, sec2 (Sun, Feb 21, 1993):H21(N), H21(L), col 1, 17 col in.

Berg, Charles Ramirez.
"Ethnic Ingenuity and Mainstream Cinema: Robert Rodriguez's: Bedhead (1990) and El Mariachi (1993)." In: The Ethnic Eye: Latino Media Arts / Chon A. Noriega and Ana M. Lopez, editors. pp: 107-28. Minneapolis, Minn.: University of Minnesota Press, c1996.
Main Stack PN1995.9.L37.E84 1996

Cameron, Douglas M.
"Representation of the Border in Contemporary Cinema: The Imbrication of Cultures in El Mariachi." MACLAS: Latin American Essays. 9: 3-17. 1995.

DeGenaro, William.
"Post-Nostalgia in the Films of Quentin Tarantino and Robert Rodriguez." Journal of American Studies of Turkey. 6: 57-63. 1997 Fall.

Flanagan, Martin
"Process of Assimilation: Rodriguez and Banderas, from El Mariachi to Desperado." Ixquic: Revista Hispanica Internacional de Analisis y Creacion. 3: 41-59. 2001 Dec.

Irwin, Mark.
"Pulp and the Pulpit: The Films of Quentin Tarantino and Robert Rodriguez." Literature & Theology: An International Journal of Theory, Criticism and Culture. 12 (1): 70-81. 1998 Mar.

Johnson, Brian D.
"El Mariachi." (movie reviews)Maclean's v106, n17 (April 26, 1993):44C.

Maslin, Janet.
"El Mariachi." (movie reviews)New York Times v142 (Fri, Feb 26, 1993):B9(N), C6(L), col 1, 19 col in.

Nichols, Peter M.
"El Mariachi." (movie reviews)New York Times v142 (Fri, Sept 3, 1993):B2(N), D15(L), col 5, 2 col in.

Rafferty, Terrence.
"El Mariachi." (movie reviews)New Yorker v69, n1 (Feb 22, 1993):169 (2 pages).

"Rodriguez, Robert." (filmmaker) Current Biography August 1996 v57 n8 p42(5)

Romney, Jonathan.
"El Mariachi." (movie reviews)New Statesman & Society v6, n265 (August 13, 1993):34.

Rose, Cynthia.
"El Mariachi." (movie reviews)Sight and Sound v3, n9 (Sept, 1993):50.

Salamon, Julie.
"El Mariachi." (movie reviews)Wall Street Journal (Thu, March 11, 1993):A13(W), A12(E), col 1, 9 col in.

Sterritt, David.
"El Mariachi." (movie reviews)Christian Science Monitor v85, n63 (Fri, Feb 26, 1993):14, col 1, 2 col

Torres, Hector A.
"Chicano Doppelganger: Robert Rodriguez's First Remake and Secondary Revision." Aztlán : A Journal of Chicano Studies. 26 (1): 159-70. 2001 Spring.
UC users only
"The motion picture 'Desperado' may be seen as a remake of 'El Mariachi.' The films were directed by Texas native Robert Rodriguez, parody is a significant element in both, and both use mythic central figures to examine the cultural transformations America is experiencing in attempting to accept Latin culture." [Expanded Academic Index]

Travers, Peter.
"Robert Rodriguez." (motion picture producer and director) (Interview) Rolling Stone March 18, 1993 n652 p47(1)

El Norte

Interview with Gregory Nava (director). Cineaste v21, n4 (Fall, 1995):26 (3 pages).

Barrera, Mario.
"Missing The Myth: What Gets Left Out Of Latino Film Analysis."Perspectives in Mexican American Studies 1997 6: 168-194.
"Examines three films with Mexican-American themes, La Bamba (1987), Born in East L.A. (1987), and El Norte (1983), from the viewpoints of the filmmaker and the academic critic. Feature filmmakers construct films as drama, at the heart of which is emotional audience response. Academics interpret films primarily through an intellectual lens, paying little or no attention to constraints faced by filmmakers who must create films that are successful economically or lose backing to produce future films. Successful American feature films are mythic, appealing to shared values of a broad spectrum of viewers. To avoid being partial and unbalanced, academics must add considerations of mythic and dramatic elements to appraisals of films. These discussions should also account for practical considerations faced by filmmakers. Latino filmmakers should not necessarily heed calls for their films to offer more in-depth social critique. Films that swing too far in this direction reach a small audience and preach to the converted, though films can at times be constructed to work at multiple levels. The main function of a successful feature film is to reinforce worthwhile but noncontroversial values." [from ABC-CLIO America: History & Life]

"El Norte" (review), Jump Cut n34 March 1989 p.27-31

Fojas, Camilla.
"Urban Frontiers: Border Cinema and the Global City." In: Border bandits : Hollywood on the southern frontier / Camilla Fojas. Austin : University of Texas Press, 2008.
Full-text available online [UC Berkeley users only]
>Main (Gardner) Stacks PN1995.9.M48 F762 2008
Chicano Studies PN1995.9.M48 F762 2008

Fuentes, Victor.
"Chicano Cinema: A Dialectic between Voices and Images of the Autonomous Discourse versus Those of the Dominant." In: Chicanos and Film: Representation and Resistance / edited by Chon A. Noriega. pp: 207-17. Minneapolis: University of Minnesota Press, c1992.
Moffitt PN1995.9.M49.C49 1992
Chicano Studies Lib. PN1994.C65 1992

List, C.
"Ideology and Immigration."Jump Cut /34, Mar 89; p.27-31.
Examines the portrayal of Latino life in "El norte".

Rosen, David.
"Crossover: Hispanic Specialty Films in the U.S. Movie Marketplace." In: Chicanos and Film: Representation and Resistance / edited by Chon A. Noriega. pp: 241-60. Minneapolis: University of Minnesota Press, c1992.
Moffitt PN1995.9.M49.C49 1992
Chicano Studies Lib. PN1994.C65 1992

West, Dennis.
"Filming the Chicano Family Saga." (interview with director Gregory Nava)(Interview)Cineaste v21, n4 (Fall, 1995):26 (3 pages).

Zilberg, Elana.
"Falling Down in El Norte: A Cultural Politics and Spatial Poetics of the ReLatinization of Los Angeles." Wide Angle: A Film Quarterly of Theory, Criticism, and Practice. 20 (3): 182-209. 1998 July.

Frida

Bartra, Eli, and John Mraz.
"Las Dos Fridas: History and transcultural identities." Rethinking History 9.4 (Dec 2005): 449-457.
"The film Frida (2002) as historical cinema and the portrayal of Firda Kahlo is examined. Also, Firda's relationship with the muralist Diego Rivera is analyzed against an earlier biopic, the work's relation to what really happened, the film's internal narrative logic and the usual representation of Mexico in US cinema." [Expanded Academic Index]

Clifford, Katie.
"Featuring Frida: a long-anticipated film about Frida Kahlo vividly portrays the tumultuous life of the posthumously acclaimed Mexican painter. (Film)." Art in America 90.12 (Dec 2002): 61(1).

Fein, Seth.
"Frida." American Historical Review 108.4 (Oct 2003): 1261-1263.

Briley, R.
"Frida." Film & History v. 33 no. 2 (2003) p. 75-7
UC users only
"A review of Frida, a biopic of Mexican artist Frida Kahlo by Julie Taymor. The film's star, Salma Hayek, certainly resembles Kahlo and the film's use of color, art, and Mexican locations is visually stunning. However, rather than presenting Kahlo as a revolutionary, libertine, or feminist, the film portrays her as a submissive bourgeois figure dependent on the men in her life." [Art Index]

Guzman, Isabel Molina.
"Mediating Frida: Negotiating discourses of Latino/o authenticity in global media representations of ethnic identity." Critical Studies in Media Communication 23.3 (August 2006): 232(20).
"The discourses of Latina/o identity embedded in the movie Frida, the Latino news coverage about the film, and the on-line chat stream about the film are analyzed. It is concluded that the discourses of ethnic identity circulated through the movie, news coverage, and chat stream disrupt notions, of Latina/o ethnic identity as a stable and commodifiable demographic category." [Expanded Academic Index]

Smith, Paul Julian.
"Frida." Sight and Sound 13.3 (March 2003): 41(2).

Steyn, Mark.
"Artistic licence." Spectator 291.9108 (March 1, 2003): 62(1).

Hanging With the Homeboys

Alexander, Karen.
"Hangin' with the Homeboys" (movie reviews)Sight and Sound v1, n8 (Dec, 1991):40.

Byrge, Duane.
"'Hangin' with the Homeboys': Joseph Vasquez's Big Night." (director) American Film v16, n5 (May, 1991):52.

Holden, Stephen.
"Hangin' with the Homeboys" (Living Arts Pages) (movie reviews)New York Times v140 (Fri, May 24, 1991):B7(N), C12(L), col 1, 16 col in.

Kauffmann, Stanley.
"Hangin' with the Homeboys" (movie reviews) New Republic v205, n6 (August 5, 1991):26.

Klawans, Stuart.
"Hangin' with the Homeboys" (movie reviews)Nation v252, n24 (June 24, 1991):863.

Leland, John.
"Hangin' with the Homeboys" (movie reviews)Newsweek v117, n21 (May 27, 1991):58.

Salzberg, Charles.
"How the 'homeboys' Got That Way." (making of Joseph B. Vasquez's 'Hangin' With the Homeboys'; includes related article) New York Times v140, sec2 (Sun, May 19, 1991):H13(N), H13(L), col 1, 39 col in.

Travers, Peter.
"Hangin' with the Homeboys" (movie reviews)Rolling Stone, n606 (June 13, 1991):108.

La Bamba

Amador, Omar G.
"Latin Lovers, Lolita and La Bamba." (Hispanics in Hollywood) Americas (English Edition) v40, n4 (July-Aug, 1988):2 (8 pages).

Barrera, Mario.
"Missing The Myth: What Gets Left Out Of Latino Film Analysis."Perspectives in Mexican American Studies 1997 6: 168-194.
"Examines three films with Mexican-American themes, La Bamba (1987), Born in East L.A. (1987), and El Norte (1983), from the viewpoints of the filmmaker and the academic critic. Feature filmmakers construct films as drama, at the heart of which is emotional audience response. Academics interpret films primarily through an intellectual lens, paying little or no attention to constraints faced by filmmakers who must create films that are successful economically or lose backing to produce future films. Successful American feature films are mythic, appealing to shared values of a broad spectrum of viewers. To avoid being partial and unbalanced, academics must add considerations of mythic and dramatic elements to appraisals of films. These discussions should also account for practical considerations faced by filmmakers. Latino filmmakers should not necessarily heed calls for their films to offer more in-depth social critique. Films that swing too far in this direction reach a small audience and preach to the converted, though films can at times be constructed to work at multiple levels. The main function of a successful feature film is to reinforce worthwhile but noncontroversial values." [from ABC-CLIO America: History & Life]

"La Bamba." (video recording reviews)New York Times v137, sec2 (Sun, Jan 31, 1988):H26(N), H26(L), col 1, 4 col in.

Fabrikant, Geraldine.
"Campaign Propels 'La Bamba.' (motion picture) (column)New York Times v136 (Thu, Aug 13, 1987):37(N), D19(L), col 5, 18 col in.

Fregoso, Rosa Linda.
"Intertextuality and Cultural Identity in Zoot Suit (1981) and La Bamba (1987)." In: The Bronze Screen: Chicana and Chicano Film Culture / Rosa Linda Fregoso. Minneapolis: University of Minnesota Press, c1993.
UCB Chicano PN1994 .F8
UCB Main PN1995.9.M49 F74 1993
UCB Moffitt PN1995.9.M49 F74 1993

Fregoso, Rosa Linda.
"Mother motif in La Bamba and Boulevard Nights" In: Building With Our Hands: New Directions in Chicana Studies / edited by Adela de la Torre, Beatriz M. Pesquera. pp. 130-145. Berkeley: University of California Press, c1993.
Main Stack E184.M5.T67 1993
Moffitt E184.M5.T67 1993
Chicano Stu HQ1101.B95 1993

Maslin, Janet.
"La Bamba." (movie reviews)New York Times v136, sec2 (Sun, Aug 2, 1987):H23(N), H23(L), col 5, 7 col in.; v136 (Fri, July 24, 1987):17(N), C4(L), col 6, 12 col in. .

Salamon, Julie.
"La Bamba." (Leisure and Arts) (movie reviews)Wall Street Journal (Thu, July 23, 1987):26(W), 28(E), col 1, 14 col in.

Van Gelder, Lawrence.
"The Birth of 'La Bamba.'New York Times v136 (Fri, July 24, 1987):18(N), C8(L), col 4, 12 col in.

Lonestar

Alleva, Richard.
"Lone Star." (movie reviews) Commonweal v123, n14 (August 16, 1996):19 (3 pages).
UC users only

Ansen, David.
"Lone Star." (movie reviews) Newsweek v128, n2 (July 8, 1996):64 (2 pages).

Barr, Alan P.
"The Borders of Time, Place, and People in John Sayles's Lone Star." Journal of American Studies, Dec2003, Vol. 37 Issue 3, p365-374, 10p;

Barrera, Cordelia.
"Border Theory and the Politics of Place, Space, and Memory in John Sayles's Lone Star." Quarterly Review of Film & Video, May2010, Vol. 27 Issue 3, p210-218, 9p
UC users only

Blake, Richard A.
"Lone Star." (movie reviews) America v175, n3 (August 3, 1996):22 (2 pages).

Bakewell, Geoffrey W.
"Oedipus Tex: Lone Star, Tragedy, and Postmodernism." Classical & Modern Literature, Spring2002, Vol. 22 Issue 1, p35-48, 14p;

Bronfen, Elisabeth.
"Lone Star." In: Home in Hollywood : the imaginary geography of cinema / Elizabeth Bronfen. New York : Columbia University Press, c2004.
Main Stack PN1994.B71913 2004

Burton-Carvajal, Julianne
"Oedipus Tex/Oedipus Mex: Triangulations of Paternity, Race, and Nation in John Sayles's Lone Star." In: Multiculturalism, postcoloniality, and transnational media / edited and with an introduction by Ella Shohat, Robert Stam. New Brunswick, N.J. : Rutgers University Press, c2003.
Main Stack PN1995.9.M56.M855 2003

Campbell, Neil
"'Forget the Alamo': history, legend and memory in John Sayles' Lone star." In: Memory and popular film / edited by Paul Grainge. Manchester, UK ; New York : Manchester University Press ; New York : Distributed exclusively in the USA by Palgrave, 2003.
Main Stack PN1993.5.U6.M38 2003

Davis, Todd F.; Womack, Kenneth.
"Forget the Alamo: Reading the ethics of style in John Sayles's Lone Star." Style. Fall 1998. Vol. 32, Iss. 3; p. 471 (15 pages)
UC users only

Kauffmann, Stanley.
"Lone Star." (movie reviews) New Republic v215, n6 (August 5, 1996):26 (2 pages).

Holden, Stephen.
"Real Men, An Endangered Species on Film." (most mainstream American movies rely on exaggerated, simplistic stereotypes in their depiction of male characters, but John Sayles's new movie 'Lone Star' portrays realistic and complex male characters as well as the camaraderie and sense of shared community life and personal history between them). New York Times v145, sec2 (Sun, July 7, 1996):H9(N), H9(L), col 1.

Klawans, Stuart.
"Lone Star." (movie reviews) Nation v263, n4 (July 29, 1996):34 (3 pages).

Kemp, Philip.
"Lone Star." (movie reviews) Sight and Sound v6, n10 (Oct, 1996):47 (2 pages).

Limon, Jose E.
"Tex-Sex-Mex: American Identities, Lone Stars, And The Politics Of Racialized Sexuality." American Literary History 1997 9(3): 598-616.
"Iconographies of Anglo-Mexican racial politics in the films High Noon (1952) and Lone Star (1996) complicate postcolonial narratives. The colonizing American cowboy, sexualized Mexican woman, and sanitized Anglo woman in High Noon formed a symbolic triad that challenged and destabilized the capitalist moral economy: the hero's return to the white woman could not erase his ambivalent sexual transgression with the erotic Mexican "Other." Paralleling this triad, the dyad of the male Latin lover and willing white female later paved the way for Lone Star's new racial figuration. Linked by mutual sexual love, consanguinity, and political equality, the half-brother and half-sister characters questioned hegemonic totality and suggested negotiation and compromise as relational bridges." [from ABC-CLIO America: History & Life]

Linville, Susan E.
""Forget the Alamo" : Lone Star, Limbo, and the limits of the nation." In: History films, women, and Freud's uncanny / Susan E. Linville. 1st ed. Austin : University of Texas Press, 2004.
Main Stack PN1995.9.W6.L56 2004

Magowan, Kim.
""Blood only means what you let it:" Incest and miscegenation in John Sayles's Lone Star." Film Quarterly. Fall 2003. Vol. 57, Iss. 1; p. 20
UC users only

Sayles, John
Sayles on Sayles / by John Sayles and [edited by] Gavin Smith. Boston; London: Faber and Faber, 1998. (UCB Main PS3569.A95 Z47 1998)
Simon, John.
"Lone Star." (movie reviews) National Review v48, n14 (July 29, 1996):53 (2 pages).

Sultze, Kimberly
"Challenging legends, complicating border lines : the concept of "frontera" in John Sayles's Lone star." In: Hollywood's West : the American frontier in film, television, and history / edited by Peter C. Rollins and John E. O'Connor. Lexington : University Press of Kentucky, c2005.
Main Stack PN1995.9.W4.H58 2005
Bancroft PN1995.9.W4.H58 2005

Sultze, Kimberly
"Rewriting the West as Multi-Cultural: Legend Meets Complex Histories in la Frontera in John Sayles' Lone Star (1996)." Film & History. 2003. Vol. 33, Iss. 2; p. 19 (7 pages)
UC users only

Ungar, Sanford J.
"Immigrants' Tales, in Subtle Shades of Gray." (new film by John Sayles, 'Lone Star,' speaks frankly about immigration across the Mexican border). New York Times v145, sec2 (Sun, June 23, 1996):H15(N), H15(L), col 1.

West, Dennis and Joan M. West.
"Lone Star" (review) Cineaste v22, n3 (Summer, 1996):34 (3 pages)

West, Dennis and Joan M. West.
"Borders and Boundaries: An Interview with John Sayles." Cineaste v22, n3 (Summer, 1996):14 (4 pages)

Mi Familia (My Family)

Agostinelli, Gianni.
"A Mexican American journey of generations -- My Family: Three Generations of Dreams directed by Gregory Nava and written by Gregory Nava and Anna Thomas." Migration World Magazine. 1995. Vol. 23, Iss. 3; p. 47

Cowan, Jane K..
"My Family." (movie reviews) American Anthropologist v90, n2 (June, 1988):491 (2 pages).

Denby, David.
"My Family." (movie reviews) New York v28, n21 (May 22, 1995):78.

Fregoso, Rosa Linda.
"The Chicano Familia Romance." In: MeXicana encounters : the making of social identities on the borderlands / Rosa Linda Fregoso. Berkeley : University of California Press, c2003.
Full text available online (UCB users only)
Chicano Studies HQ1181.U5 F836 2003
Main (Gardner) Stacks F790.M5 F75 2003
Moffitt F790.M5 F75 2003

James, Caryn.
"My Family." (movie reviews)New York Times v144 (Wed, May 3, 1995):B2(N), C18(L), col 1, 17 col in.

Menard, Valerie.
"An American Tale." (My Family) Hispanic v8, n4 (May, 1995):28 (2 pages).

O'Brien, Lucy.
"My Family." (movie reviews) Sight and Sound v5, n10 (Oct, 1995):53 (2 pages).

Santander, Hugo N.
"Immigration and Colonization: Reflexiones sobre 'El Norte', de Gregorio Nava." Especulo: Revista de Estudios Literarios. 22: (no pagination). 2002 Nov-2003 Feb.

Voss, Karen.
"Replacing L. A.: Mi Familia, Devil in a Blue Dress, and Screening the Other Los Angeles." Wide Angle: A Film Quarterly of Theory, Criticism, and Practice. 20 (3): 156-81. 1998 July.

Wall, James M.
"My Family." (movie reviews) Christian Century v112, n21 (July 5, 1995):667.

Mi Vida Loca (My Crazy Family)

Baugh, Scott L.
"Changing of the Guard: Pinche Pintas and "Family"/ Familia in Contemporary Chicano Film." Journal of Film & Video, Summer/Fall2003, Vol. 55 Issue 2/3, p3-21, 19p
UC users only

Cobo-Hanlon, Leila.
"Another Side of the 'Crazy Life'" (Although Flattered to See Themselves on Screen, for many Echo Park Youths, the Depiction of their Lives in 'Mi Vida Loca' May Be True But it Misses the Untold Stories of Compassion) Los Angeles Times v113 (Thu, July 21, 1994):F1, col 2

Felperin L.
'Mi Vida Loca' ('My Crazy Life') Sight and Sound, 1995 apr, v5 n4:48-48.

Fregoso, Rosa Linda.
"Hanging out with the Homegirls? Allison Anders's 'Mi Vida Loca.'"(Race in Contemporary American Cinema: Part 4) Cineaste v21, n3 (Summer, 1995):36 (2 pages).

Fregoso, Rosa Linda.
"Homegirls, Cholas, and Pachucas In Cinema: Taking Over The Public Sphere." California History 1995 74(3): 316-327.
"Analyzes pachuca-chola-homegirls who rebel against the traditional stereotype of Hispanic females by challenging the gendered structure of families and acting and speaking in the public sphere in addition to displaying their sexuality. Until recently the view of Chicanas as pachucas, cholas, and homegirls has been neglected in films with Mexican-American themes. The film Mi Vida Loca (1994), although criticized for such things as negative stereotyping, is the first to focus on the experiences of homegirls, detailing "gangsta" life in Echo Park, Los Angeles. Despite neglect and stereotyping, the pachuca-chola-homegirl remains an important figure in Chicano history that merits further study." [from ABC-CLIO America: History & Life]

James, Caryn.
"'Mi Vida Loca'-- My Crazy Life." (movie reviews) New York Times v143 (Mon, July 18, 1994):B3(N), col 1,

Masters, Kim.
"The Girl Can't Help It; Allison Anders Finds Films in Her Life." (profile of film director and her new film 'Mi Vida Loca' about lives of Hispanic women gang members in Echo Park district of Los Angeles, California)Washington Post v117 (Sun, August 7, 1994):G1, col 5,

McDonagh, Maitland.
"Sad-Girls" (Allison Anders' 'Mi Vida Loca' And Girl Gangs Of Los-Angeles)Film Comment, 1994 Sep-Oct, V30 N5:75+.

Pitman, Thea.
"Policing the borders of Chicano cinema: The critical reception of Allison Anders's Mi vida loca/My Crazy Life (1994) by the Chicano community." New Cinemas: Journal of Contemporary Film, 2010, Vol. 8 Issue 2, p71-86, 16p
UC users only

Nueba Yol

Gonzalez, David.
"A Latin takes Manhattan."(Caribbean character Orodoto Balbuena from movie 'Nueba Yol' has become hero to many Dominicans in New York, NY) New York Times v145 (Wed, Feb 21, 1996):B1(L), col 1, 15 col in.

Holden, Stephen.
"Nueba Yol."(movie reviews) New York Times v145 (Wed, Feb 14, 1996):C12(L), col 4, 14 col in.

"Nueba Yol."
Migration World Magazine v24, n1-2 (Jan-Feb, 1997):51.

Rohter, Larry.
"Nueba Yol." (movie reviews) New York Times v145 (Wed, May 29, 1996):B2(N), C11(L), col 5, 26 col in.

Klady, Leonard.
"'Yol' Piques Interest in Hispanic Pix."('Nueba Yol' - feature film)Variety v362, n4 (Feb 26, 1996):22 (2 pages).

The Perez Family

SEE Mira Nair bibliography

Salt of the Earth

Balthaser, Benjamin.
"Cold War Re-Visions: Representation and Resistance in the Unseen Salt of the Earth." American Quarterly. Jun 2008. Vol. 60, Iss. 2; p. 347 (26 pages)

Biberman, H. J. (Herbert J.)
Salt of the earth; the story of a film. Boston, Beacon Press [1965]
MAIN: PN1997.S25 B5
UNDE: PN1997.S143 .B5
CHIC: HD1483 .B471;

Boisson, Steve.
"The Movie Hollywood Could Not Stop."American History 2002 36(6): 44-50.
During the Red Scare of the 1950's, director Herbert Biberman and producer Paul Jarrico, two avowed Communists, encountered numerous difficulties in creating The Salt of the Earth (1954), a film about striking miners that exposed the discrimination that Mexican Americans faced in Grant County, New Mexico.

de Antonio, Emile.
"Salt of the Earth." In: Emile de Antonio : a reader pp: 345-47. Minneapolis : University of Minnesota Press, c2000.
MAIN: PN1998.3.D3846 E65 2000

Dittmar, Linda.
"The Articulating Self: Difference as Resistance in Black Girl, Ramparts of Clay, and Salt of the Earth." In: Multiple voices in feminist film criticism pp: 391-405. Minneapolis : University of Minnesota Press, c1994. DD>
MAIN: PN1995.9.W6 M82 1994DD>
Moffitt: PN1995.9.W6 M82 1994

Ettorre, Emanuela.
"'The Salt of the Earth' and the Ethics of Self-Denial." The Gissing Newsletter. 31(3):19-30. 1995 July

Lorence, James J.
"Mining Salt Of The Earth."Wisconsin Magazine of History 2001-02 85(2): 28-43.
"The author first encountered Salt of the Earth, the 1953 film depicting the plight of Mexican American miners during the Empire Zinc strike of 1950-52 in Grant County, New Mexico, when he prepared the syllabus for his college history class. His classroom experience launched him on a journey of research and writing that culminated in the publication of The Suppression of "Salt of the Earth": How Hollywood, Big Labor, and Politicians Blacklisted a Movie in Cold War America in 1999." [America History and Life]

Lorence, James J.
The suppression of Salt of the earth : how Hollywood, big labor, and politicians blacklisted a movie in Cold War America <1999> Albuquerque : University of New Mexico Press, c1999.
MAIN: PN1997.S14 L67 1999;
BANC: PN1997.S14 L67 1999

Lorence, James J.
"The Suppression of "Salt of the Earth" in Midwest America: The Underside of Cold War Culture in Detroit and Chicago." Film History 10:3 [1998] p.346-358
"Details the controversy over the production and release of the film "Salt of the Earth," which focuses on the efforts of a labor union in the Southwest to successfully strike against the Empire Zinc Corporation over economic, social and safety issues. Traces several labor unions' involvement in fights in Chicago and Detroit over whether to run the film, relating how the workings of inter-union politics impeded "worker solidarity in support of one of the strongest pro-union films ever made." Mentions many other groups voicing support or opposition to the film and the accusations of Communist sympathies leveled at the filmmakers. Highlights the marketing strategy of director Herbert Biberman and his intent to have it screened in specifically chosen cities." [International Index to the Performing Arts]

Marin, Christine.
"The Union, Community Organizing, And Civil Liberties: Clinton Jencks, Salt Of The Earth, and Arizona Copper In The 1950s. Mining History Journal 2000 7: 64-70.

McCormick, R..
"Salt of the earth." (review) Cineaste; Vol.V nr.4 (1973); p.53-55

Memorable media moments in labor history <1992>[Video]
New York, N.Y. : American Social History Project: American Social History Productions, 1992.
AVMC: VIDEO/C 7703

Miller, Tom.
"Class Reunion: Salt of the Earth Revisited." Cineaste. 13(3):31-36. 1984.
"About the renaissance of the blacklisted movie "Salt of the earth", the story of its making and the effect on the lives and careers of those involved, incl. Mexican actress Rosaura Revueltas."

Morris, Peter.
"Salt of the Earth." In: Celluloid power : social film criticism from The birth of a nation to Judgment at Nuremberg pp: 485-493. Metuchen, N.J. : Scarecrow Press, 1992.
MAIN: PN1995.9.P6 C44 1992
UNDE: PN1995.9.P6 C44 1992

Pfaelzer, Jean.
"Salt of the Earth: Women, Class, and the Utopian Imagination." Legacy. 16(1):120-31. 1999

Rampell, Ed.
"Cinema's Salt of the Earth." In: Progressive Hollywood : a people's film history of the United States / by Ed Rampell. New York : Disinformation ; St. Paul, MN : Distributed in the USA and Canada by Consortium Book Sales and Distribution, c2005.
Main (Gardner) Stacks PN1995.9.P6 R34 2005
Moffitt PN1993.5.U65 R27 2005

Riambau, Esteve. Torreiro, Casimiro.
"This Film Is Going To Make History: An Interview with Rosaura Revueltas." Cineaste. 19(2-3):50-51. 1992.
"Mexican actress R.R. describes the experience of making "Salt of the earth", and the anti-communist hysteria surrounding its production and exhibition."

Robinson, Lillian S.
"Out of the Mine and into the Canyon: Working-Class Feminism, Yesterday and Today." In: The Hidden foundation : cinema and the question of class pp: 172-92. Minneapolis : University of Minnesota Press, c1996.
MAIN: PN1995.9.P6 H5 1996

Rosenfelt, D.
"Ideology and structure in 'Salt of the earth'." Jump Cut; nr.12-13 (1976); p.19-22

Sefcovic, Enid M.I.
"Cultural memory and the cultural legacy of individualism and community in two classic films about labor unions." Critical Studies in Media Communication Sept 2002 v19 i3 p329(23)
UC users only
Author's Abstract: COPYRIGHT 2002 Speech Communication Association "On the Waterfront and Salt of the Earth are read as epideictics for the experiences of directors Elia Kazan and Herbert Biberman testifying before the House Committee on Un-American activities (HUAC). These films are self-conscious studies of the directors' principles in which union struggles serve as the vehicle for narrative analogies that express differing philosophies about a key tension in the American identity--that between individualism and community. Because these films represent the creation of meanings at two different synchronic sites within the culture, they officer opportunities to inspect how their messages are historically and culturally determined and how they are like, or unlike, the cultural memory of our own time. This rhetorical approach to reading cultural memory investigates the diachrony of contexts, requiring the rhetorical critic to act not only as an archaeologist of the moment of production, but also as a historian of the circulation of texts, and as a contemporary social moralist. Such a multi-layered approach is necessary for understanding the different cultural options and cultural force of On the Waterfront and Salt of the Earth." [Expanded Academic Index]

Weinberg, Carl R.
"Salt of the Earth: Labor, Film, and the Cold War." OAH Magazine of History, Oct2010, Vol. 24 Issue 4, p41-45, 5p
UC users only

Williams, Linda.
"Type and Stereotype: Chicano Images in Film." Frontiers 1980 5(2): 14-17.
Discusses stereotypes of Mexican Americans in American films as villians, dope addicts, and sex fiends, focusing on Let Katie Do It (1915), Martyrs of the Alamo (1915), and Moctezuma Esparsa's Only Once in a Lifetime (1978); two films not stereotypical are Salt of the Earth (1953) and Alambrista! (1978).

Wilson, Michael
Salt of the earth : screenplay / <1978>Old Westbury, N.Y. : Feminist Press, [1978]
MAIN: PN1997 .S14 1978; Storage Info: B 3 188 861

Stand and Deliver

Corliss, Richard.
"Stand and Deliver." (movie reviews)Time v131, n14 (April 4, 1988):77.

Denby, David.
"Stand and Deliver." (movie reviews)New York v21, n16 (April 18, 1988):100 (2 pages).

"Depart and Deliver." (improving education in the U.S.; movie "Stand and Deliver" tells story of innovative, successful teacher Jaime Escalante) (editorial)Wall Street Journal (Fri, August 30, 1991):A6(W), A6(E), col 1, 16 col in.Pub Type: Editorial.

Goldman, Illene S.
"Crossing Invisible Borders: Ramon Menendez's Stand and Deliver." In: The Ethnic Eye: Latino Media Arts. Chon A. Noriega and Ana M. Lopez, editors. Minneapolis, Minn.: University of Minnesota Press, c1996. pp: 81-94.
Main Stack PN1995.9.L37.E84 1996

Harmetz, Aljean.
"Math stars in a Movie." ("Stand and Deliver")New York Times v137, sec2 (Sun, March 20, 1988):H21(N), H21(L), col 1, 51col in.

Kroll, Jack.
"Stand and Deliver." (movie reviews)Newsweek v111, n11 (March 14, 1988):62.

Lardner, James.
"Stand and Deliver." (movie reviews)Nation v246, n17 (April 30, 1988):618 (2 pages).

Maslin, Janet.
"Stand and Deliver." (movie reviews) New York Times v137 (Fri, March 18, 1988):15(N), C14(L), col 5, 9 col in.

O'Brien, Tom.
"Stand and Deliver." (movie reviews)Commonweal v115, n11 (June 3, 1988):341 (2 pages).

Peerman, Dean.
"Stand and Deliver." (movie reviews)Christian Century v105, n14 (April 27, 1988):433 (2 pages).

Robertson, Judith Patricia.
Cinema and the politics of desire in teacher education (Dissertation University of Toronto (Canada), 1994.)
Robertson, Judith Patricia. Cinema and the politics of desire in teacher education (Dissertation University of Toronto (Canada), 1994.)
UC users only

Salamon, Julie.
"Stand and Deliver." (movie reviews)Wall Street Journal (Wed, March 23, 1988):24(W), 24(E), col 2, 5 col in.

Shouse, Roger C.
"Beyond Legend: Stand and Deliver as a Study in School Organizational Culture." Film & History , Spring2009, Vol. 39 Issue 1, p45-52, 8p
UC users only

Ulstein, Stefan.
"Stand and Deliver." (movie reviews)Christianity Today v32, n12 (Sept 2, 1988):61.

A Touch of Evil

Viva Zapata

Braudy, Leo.
"'No Body's Perfect': Method Acting and 50s Culture." In: The movies : texts, receptions, exposures / edited by Laurence Goldstein and Ira Konigsberg. pp: 275-99. Ann Arbor : University of Michigan Press, c1996.
Main Stack PN1994.M78 1996
Moffitt PN1994.M78 1996

Butler, Jeremy G.
"Viva Zapata!: HUAC and the Mexican Revolution." In: The Steinbeck Question: New Essays in Criticism. Edited by Donald R. Noble. pp: 239-49. Troy, N.Y.: Whitston Publishing, 1993.
Main Stack PS3537.T3234.Z85 1993

Ditsky, John.
"Words and Deeds in Viva Zapata!" Dalhousie Review. 56:125-31. 1976.

Hayashi, Tetsumaro.
"The Theme of Revolution in Julius Caesar and Viva Zapata." In: John Steinbeck, East and West : proceedings of the First International Steinbeck Congress held at Kyushu University, Fukuoka City, Japan, in August 1976 / edited by Tetsumaro Hayashi, Yasuo Hashiguchi, and Richard F. Peterson. pp: 28-39. Muncie, Ind. : Steinbeck Society of American English Dept., Ball State University, 1978.

Morsberger, Robert E.
"Steinbeck's Viva Zapata!" (Screenplay, 1952; Published 1975) In: A study guide to Steinbeck: a handbook to his major works, edited by Tetsumaro Hayashi. pp: 191-209. Metuchen, N.J., Scarecrow Press, 1974-1979
Main Stack PS3537.St3234.Z7142 Library has: pt. [1]-2
Bancroft PS3537.S836.Z9.H28 Non-circulating; may be used only in The Bancroft Library. Library has: pt.[1]

Wilson, Jerry W.
"Steinbeck, Fuentes, and the Mexican Revolution." Southwest Review, vol. 67 no. 4. 1982 Autumn. pp: 430-440.

Zoot Suit

Aufderheide, Patricia
"Zoot suit." Film Quarterly Vol XXXVI nr 2 (Winter 1982-83); p 44-47.

Canby, Vincent.
"Zoot Suit." (moving-picture reviews) New York Times v131 (Fri, Jan 22, 1982):16(N), C10(LC), col 1, 16 col in.

Fregoso Rl.
"Homegirls, Cholas And Pachucas In Cinema - Taking Over The Public Sphere." ('Zoot Suit', 'Mi Vida Loca')California History, 1995 Fall, V74 N3:316+.

Fregoso, Rosa Linda.
"Intertextuality and Cultural Identity in Zoot Suit (1981) and La Bamba (1987)." In: The Bronze Screen: Chicana and Chicano Film Culture / Rosa Linda Fregoso. Minneapolis: University of Minnesota Press, c1993.
UCB Chicano PN1994 .F8
UCB Main PN1995.9.M49 F74 1993
UCB Moffitt PN1995.9.M49 F74 1993

Fregoso, Rosa Linda.
"Zoot Suit: The 'Return to the Beginning'." In: Mediating Two Worlds: Cinematic Encounters in the Americas. Edited by John King, Ana M. Lopez, Manuel Alvarado. London: BFI, 1993. pp: 269-78.
Main Stack PN1995.9.L37.M43 1993
Moffitt PN1995.9.L37.M43 1993

Martin, Laura.
"Language Form and Language Function in Zoot Suit and The Border: A Contribution to the Analysis of the Role of Foreign Language in Film." Studies in Latin American Popular Culture. 3:57-69. 1984

Noriega, Chon A.
"Fashion Crimes." Aztlan: A Journal of Chicano Studies. 26(1):1-13. 2001 Spring

Pizzato, Mark.
"Brechtian and Aztec Violence in Valdez's Zoot Suit." Journal of Popular Film and Television, vol. 26 no. 2. 1998 Summer. pp: 52-61.
Analyzes violence, myth and culture in Luis Valdez's "Zoot Suit", within a framework of the theories of Brecht and Artaud, as well as drawing on Aztec mythology.

Sterritt, David.
"Zoot Suit." (moving-picture reviews)Christian Science Monitor v74 (Thu, Jan 21, 1982):18, col 2, 8 col in.

Webb, Simon.
"Masculinities at the Margins: Representations of the Malandro and the Pachuco." In: Imagination beyond nation : Latin American popular culture / edited by Eva P. Bueno and Terry Caesar. pp: 227-64. Pittsburgh : University of Pittsburgh Press, c1998. Pitt Latin American series.
Main Stack F1408.3.I43 1998




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