Analysis Of La Otra Conquista

The legacy and impact of the Spanish conquest is continually discussed and analyzed. The struggle in finding native identities while also acknowledging Spanish heritage is a continuing process in Latin America. Modern film and art, such as Salvador Carrasco’s La Otra Conquista and Diego Rivera’s mural the arrival of Cortés speak about the conquest and its effects on Mexico identity. The film challenges myths about the conquest by arguing against the greatness of Cortés, showing power in native agency, and Spanish dependency on interpreters. The mural upholds myths of the conquest like the black legend, minimizes

Each year, the Totonacs were forced to send hundreds of children to the altars of Tenochtitlan, a city within the Aztec empire, for sacrifice, therefore their hatred was prominent. [10] Whereas the Tlaxcalans, had been at war with the Aztecs for about a century, to the Tlaxcalans, the Spanish represented their only hope. [11] For this reason, Tlacochcalcatl forged an alliance with Cortés. Before his alliances, his army only had 508 men to conquer the Aztec empire, which had millions of people. Cortes had 50,000 Tlaxcalans backing him up for the re-conquest of Tenochtitlan, as well as 25,000 combined Indians allies.

Following the successes of Hernan Cortes with his conquest of the Mexica-Aztec Empire of Mexico and Francisco Pizzaro with his conquest of the Inka Empire in the Andean Region of South America, many other Conquistadors embarked upon expeditions to discover and conquer wealthy Native American civilizations. Among this new wave of conquistadors was Lope de Aguirre who accompanied an expedition led by Gonzalo Pizarro, a brother of Francisco Pizarro, to find the lost city of gold known as El Dorado. The film Aguirre: The Wrath of God is a work of historical fiction that provides additional insight into the motives and behaviors of the Spanish and Aguirre during this expedition, Spanish-Native American Relations, Spanish-African slave relations, the status of role of women within colonial society, the role of the Catholic Church within Spanish society, and the nature of Spanish society within the context of Aguirre’s excursion. Aguirre: The Wrath of God provides insight into the desire for a wealth of gold and glory by the Spanish when undergoing these harsh expeditions, the abuse and subservience Native Americans were subjected to by the Spanish Conquistadors, the African slaves served the Spaniards and had to complete exhausting and humiliating work, the inferiority of women compared to Spanish men and how easily they were dismissed by Spanish men, the desire for not only conversion but gold and wealth for the Catholic Church by allowing the Conquistadors to commit atrocities in the New World, and the Spaniard belief in the righteousness of their conquests in the New World due to the successful Reconquest of Iberia from the Moors.

Every artist's dream is to create something that leaves a lasting impression. The Last Conquistador follows the story of a sculptor who does exactly that. John Houser spent nearly a decade painstakingly crafted a 34-foot tall equestrian statue featuring the infamous Spanish conquistador Juan de Oñate y Salazar. Following in the footsteps of his father who assisted in the carving of Mount Rushmore, Houser's fantasy of leaving his mark in one of the largest bronze equestrian statues in the world finally became a reality (Valadez). However, what an artist attempts to express and what message is truly received may not be one and the same. While the Hispanic elite of El Paso praised (and funded) the magnificent piece, the Acoma were horrified by the towering symbol of oppression and genocide looming overhead. This film not only provides a window into the conflict and controversy surrounding Houser's work, but also showcases several aspects of Texas political culture and highlights the dismissive attitude toward Native American culture that is still prevalent today.

The reading “An Aztec account of the Spanish Conquest” is mainly about a story when Hernan Cortes came for the first time at Tenochtitlan (nowadays Mexico City). The Aztecs believes that when Hernan Cortes arrive they believe the he was Quetzalcoatl, the main god in the Aztec culture. Cortes were friendly invite to the Aztec city as the most important guest, the Aztec people made a big party to celebrate the return of their god, but the Aztec people did not know Cortes intentions of conquer the empire. Later the Aztecs were betrayed by Hernan Cortes. Cortes’s army began to attack the city and at the end they take over the city.

With a great reputation for its historical significance, ‘Los olvidados’ (1951), a film shot in Mexico City, directed by Luis Buñuel, endorsed the defining point of his profession. Having studied the given excerpt of the script from a scene of the film, this report will not only portray intriguing political, historical and social aspects, but also the phonological, morphological and lexical aspects and how they influence the given content. The geographical location of this film has also proven to be of relevant influence. Buñuel succeeded to attract the wider world's interest into his work as it was his intention to make everyone realise the truth. Ironically, Buñuel being a surrealist director, Los olvidados was not a surreal film. It was the first film directly addressing not only the issues identified with the Mexican society but also Mexican cinema itself. From here, the attributes of Mexican cinema were perpetually replaced.

The book focuses on how the Spanish slowly exploited the Aztec resources to the point where they started killing people for no reason but to exterminate them. One of the turning events during the Spanish conquest is the massacre in the main temple during the fiesta Toxcatl. The Aztecs begged their king to hold festivities in honor of the god Huitzilopochtli. After they got permission, they very carefully prepared for festivities and sworn to do their best dancing at the festivities to show the Spanish the beauty of their rituals. The Spanish showed that they are interested to learn more about the festivities, but they were planning to murder all the celebrants. When the celebrations began, the

In the film created by Salvador Carrasco, he tells us the story of the oppressed Aztecs by the Spanish conquistadors. The film leads to a social and religious understanding by two of the main characters Topiltzin (a native Aztec) and Fray Diego, (a friar in Catholicism). Together, both characters form a bond and that lets for the two different cultures to get together for the viewers to understand that these cultures are more in tune than what they seem. Carrasco, divides his movie into two parts, setting the tone for the mirroring of scenes, duality, and parallelism that takes place during the course of the movie. The director intends for his viewers to draw important connections from these elements that bring them to a greater understanding of social culture, religion, and faith. In one of the final scenes leading up the end of the movie, Fray Diego confronts Topiltzin at the church. At this point that the viewer sees a behavior change in Fray Diego's eyes. Fray Diego knows Topiltzin's feelings toward religion, indicating the large strides that he has made over the years in

The Conquest of Mexico and the conversion of the peoples of New Spain can and should be included among the histories of the world, not only because it was well done but because it was very great. . . . Long live, then, the name and memory of him [Cortés] who conquered so vast a land, converted such a multitude of men, cast down so many men, cast down so many men, cast down so many idols, and put an end to so much sacrifice and the eating of human flesh! —Francisco López de Gómara (1552)

money. Cortez along with the Spaniards ultimately destroys the Aztecs in their quest for fortune

Representation” by Michael Schreffler argues that “ . . . early modern rhetoric and iconography . . . constructed a distorted view of painting in Aztec Mexico and entangled it in the conventions of colonial historiography” (407). This essay is effective because of its thorough examination of the accounts that explain a painting made by the Aztec’s at San Juan de Ulúa on Easter Sunday of 1519.

By the time the Mexican Revolution began, women were ready to be recognized fully for their talents and abilities. While many women chose to stay behind the scenes and care for the soldiers on the sidelines, like Camila in The Underdogs, there were equally as many women who chose to actively participate in the revolution. Women such as War Paint chose to become fighters, while others followed less dangerous paths (although many were equally as radical). Despite the fact that Camila and War Paint are both accurate representations of the women who chose the same paths during the revolution, there are still many different roles that women played during this time that Azuela does not acknowledge.

Cortez and his force arrived in Tenochtitlan on November 8th, 1519. Tenochtitlan was the capital of what we know today as Mexico. Tenochtitlan was one of the largest cities in the world at that time. Tenochtitlan was run by the Aztecs. Cortes then met Montezuma, the Aztecs’s emperor. Montezuma and the Aztecs thought Hernan Cortes was a god. They thought he was Quetzalcoatl. Cortez was there at the right time because the god was supposed to arrive the same year Cortes was there. Since they thought he was a god they would do anything for his command. Later on Montezuma suspected Cortez not to be the god. He gave him gold and jewels to try and get him to leave. It had the opposite affect and increased the Spaniards greed. Cortez then captured Montezuma as hostage to prevent the Aztecs attacking.

The events that occurred between the Aztecs and Spanish Conquistadors have many sides and opportunities for debate. One of the most debated topics being; Who was more savage and who was more Civil? Both the Aztecs and Spanish had powerful and thriving empires. These empires displayed their dominance through their advanced technology and flourishing military. Though it may seem that the Spanish were more advanced than the Aztecs, the Aztecs and Spanish were actually quite close to being equal in technological advancements.

Although, Amistad exemplifies the terrors of the slave trade as it make clear the troublesome nature of the slavery concern in the United States. It discloses the acceptance of slavery by most Northerners as well as the influences of the abolitionist movement. Moreover, the parting of powers in the U.S. Government, the workings of the court system, and the historical figure of John Quincy Adams are all important elements in the story on July 2, 1839, Joseph Cinqué led a slave mutiny on board the Spanish schooner Amistad some 20 miles off northern Cuba. The revolt set off a remarkable series of events and became the basis of a court case that ultimately reached the U.S. Supreme Court. The civil rights issues involved in the affair made it the most famous case to appear in American courts before the landmark Dred Scott decision of 1857.