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Mexico on Main Street
Mexico on Main Street takes us inside a forgotten world: the film culture that thrived within Los Angeles's Mexican immigrant community in the early decades of the twentieth-century. Drawing from rare archives, Colin Gunckel demonstrates how these immigrants not only consumed Hollywood and Mexican films, but also produced fan publications, fiction, criticism, music, and live theatrical events. This book demonstrates how a site-specific study of cultural and ethnic issues challenges our existing conceptions of U.S. film history, Mexican cinema, and the history of Los Angeles.
Sleaze Artists
DIVCollection of essays on the impact that non-mainstream and middlebrow film genres have had on popular culture--including sexploitation, horror, cult, XXX, and indie films./div
Unbelonging
How Latinx artists engage in sonic subcultures to reject neoliberal definitions of belonging What is the connection between the British rock star Morrissey and the Latinx culture of transnational “unbelonging”? What is the relevance of “dyke chords” in Chicana feminist punk and lesbian dissolution? In what ways can dissonant sounds challenge systems of dominance? Unbelonging answers these questions and more through an exploration into Mexican and US-based Latinx artists’, writers’, and creators’ use of the discordant sounds of punk, metal, and rock to give voice to the aesthetic of “unbelonging,” a rejection of consumerist and nationalist mentalities. Iván A. Ramos argues ...
Alton's Paradox
Alton's Paradox builds upon extensive archival and primary research, but uses a single text as its point of departure—a 1934 article by the Hungarian American cinematographer John Alton in the Hollywood-published International Photographer. Writing from Argentina, Alton paradoxically argues of cine nacional, "The possibilities are enormous, but not until foreign technicians will take the matter in their hands and with foreign organization will there be local industry." Nicolas Poppe argues that Alton succinctly articulates a line of thought commonly held across Latin America during the early sound period but little explored by scholars: that foreign labor was pivotal to the rise of national film industries. In tracking this paradox from Hollywood to Mexico to Argentina and beyond, Poppe reconsiders a series of notions inextricably tied to traditional film historiography, including authorship, (dis)continuation, intermediality, labor, National Cinema, and transnationalism. Wide-angled views of national film industries complement close-up analyses of the work of José Mojica, Alex Phillips, Juan Orol, Ángel Mentasti, and Tito Davison.
Self Help Graphics & Art
This second edition of Self Help Graphics & Art brings the original edition up to date, adding breadth and depth to the history of the historic East L. A. arts center. Self Help Graphics has been a national model for community-based art making and art-based community making since its founding in the early 1970s. Known for its groundbreaking printmaking and art education programs, Self Help Graphics has empowered local artists and taught the world about the vibrancy of Chicano/Latino art. A comprehensive guide to the Self Help Graphics & Art archives at the California Ethnic and Multicultural Archives (CEMA), University of California, Santa Barbara, and an expanded bibliography complete the volume. Contributors include Michael Amescua, Yreina Cervantes, Karen Mary Davalos, Armando Durón, Evonne Gallardo, Colin Gunckel, Kristen Guzmán, Leo Limón, Chon A. Noriega, Peter Toval, Linda Vallejo, and Mari Cárdenas Yáñez.
Self Help Graphics at Fifty
"Self Help Graphics at Fifty celebrates the ongoing legacy of an institution which had profound aesthetic, economic, and political impact on the formation of Chicanx and Latinx art in the United States. Officially launched in 1973 during the Chicano Movement by Italian-American Franciscan nun and artist Sister Karen Boccalero and queer Mexican artists Carlos Bueno and Antonio Ibaänez, Self Help Graphics served on the cultural front of the movement. The institution's commitments to art, dignity for all, and pride in ethnic heritage appear in every aspect of programming, including the Dâia de los Muertos festival; the Barrio Mobile Art Studio, which brings art education to underserved schools; and the printmaking program, which offers an accessible medium infused with activist aims. Looking at the multiple genealogies of art that intersect in East Los Angeles, Self Help Graphics at Fifty bears witness to the organization's influential role in US and global art histories"--
Sleaze Artists
Bad Girls Go to Hell. Cannibal Holocaust. Eve and the Handyman. Examining film culture’s ongoing fascination with the low, bad, and sleazy faces of cinema, Sleaze Artists brings together film scholars with a shared interest in the questions posed by disreputable movies and suspect cinema. They explore the ineffable quality of “sleaze” in relation to a range of issues, including the production realities of low-budget exploitation pictures and the ever-shifting terrain of reception and taste. Writing about horror, exploitation, and sexploitation films, the contributors delve into topics ranging from the place of the “Aztec horror film” in debates about Mexican national identity to a ...
In Search of the Mexican Beverly Hills
Residential and industrial sprawl changed more than the political landscape of postwar Los Angeles. It expanded the employment and living opportunities for millions of Angelinos into new suburbs. In Search of the Mexican Beverly Hills examines the struggle for inclusion into this exclusive world—a multilayered process by which Mexican Americans moved out of the barrios and emerged as a majority population in the San Gabriel Valley—and the impact that movement had on collective racial and class identity. Contrary to the assimilation processes experienced by most Euro-Americans, Mexican Americans did not graduate to whiteness on the basis of their suburban residence. Rather, In Search of the Mexican Beverly Hills illuminates how Mexican American racial and class identity were both reinforced by and took on added metropolitan and transnational dimensions in the city during the second half of the twentieth century.
Struggles for Recognition
Struggles for Recognition traces the emergence of melodrama in Latin American silent film and silent film culture. Juan Sebastián Ospina León draws on extensive archival research to reveal how melodrama visualized and shaped the social arena of urban modernity in early twentieth-century Latin America. Analyzing sociocultural contexts through film, this book demonstrates the ways in which melodrama was mobilized for both liberal and illiberal ends, revealing or concealing social inequities from Buenos Aires to Bogotá to Los Angeles. Ospina León critically engages Euro-American and Latin American scholarship seldom put into dialogue, offering an innovative theorization of melodrama relevant to scholars working within and across different national contexts.
Mexican Waves
Mexican Waves is the fascinating history of how borderlands radio stations shaped the identity of an entire region as they addressed the needs of the local population and fluidly reached across borders to the United States. In so doing, radio stations created a new market of borderlands consumers and worked both within and outside the constraints of Mexican and U.S. laws. Historian Sonia Robles examines the transnational business practices of Mexican radio entrepreneurs between the Golden Age of radio and the early years of television history. Intersecting Mexican history and diaspora studies with communications studies, this book explains how Mexican radio entrepreneurs targeted the Mexican...
