The Characteristics And Stereotypes Of Latinos El Bandido

Moreover, an accurate portrayal can show a shift in how American film companies put effort into making their movies historically and culturally up to date, compared to previous American produced films that reinforced the Latin America stereotypes as seen in movies Viva Zapata! and

Immigration is a complex and multifaceted issue that faces the US. In his film, Sin Nombre (2009), director Cary Fukunaga aims to juxtaposition the issue of immigration with the issue of gang violence in Mexico, and show the difficulties immigrants face by giving his audience an insider’s perspective into the experience of immigrating to the United States from Honduras. He does this through a variety of characters; most notably Willie and Sayra. Fukunaga did extensive research on life in the Mara Salvatrucha gang and the process of immigrating to America, in order to make his film realistic and authentic. The result is a movie that not only shows immigration in a way that evokes empathy and enforces the humanity of immigrants in the viewer’s mind, but also gives the viewer a look into the realities of being in a gang. Through the use of strong characters, powerful dialogue and vivid imagery, Fukunaga uses pathos to put a human face to the issue of immigration, logos to inform and give his audience context about the issues the film addresses, and ethos to establish his credibility and make the film believable.

In the film industry, we see all different types of films and movies, but there’s always guidelines on what needs to be followed by stereotypes that have been built by society. In the film “The Bronze Screen” it gives us a better understanding on how the system is set up for film making but especially for Latinos in the film industry, Latinos are seen as a minority group who don’t have a lot of changes on making into the big screen, the film explains how Latinos are put in movies to fill the stereotypes that have been made by society but to be specific by the white people.

In those early portrayals, the "privileged non-Latina woman" was often "lured into the sensual exoticism of a caddish Latino philanderer," Baugh continues (259). More recently, the author suggests, filmmakers have attempted to present Latino identities as less stereotypical characters. There are characters that would not likely be revered by the greater Latino community in the United States, but nonetheless Baugh believes

The Latina women, even throughout the era resistance cinema, have not been able to make much progress in overcoming the degrading stereotypes that Hollywood has created for them. Despite the many advances that minorities have made in the cinema in recent years, Latina actresses still take on the roles of the "dark skinned lady" and other such stereotypes with strong sexual connotations. It is often debatable whether or not the role of the Latina has undergone dramatic changes since the days of Dolores Del Rio and Carmen Miranda dancing with the fruit baskets on top of their heads. However, in recent years there has been an emphasis by various Latinas in the film industry to combat such stereotypical roles and redefine themselves

In the essay “Getting Down To What Is Really Real,” John Jeremiah Sullivan discusses the reality TV show “The Real World”. In his essay, Sullivan gives us an inside experience with the main stars of the show in order to give us a glimpse of what their real lives are like. He argues, “the single most interesting thing about reality TV, is the way it has successfully appropriated reality”(Sullivan 97). Similarly, Hispanic culture has been portrayed stereotypically in TV shows and films throughout the years. Latino characters on TV mostly take roles of maids, thugs and Latin lovers who have a heavy accent and immigration problems (Nittle). Movies like Maid In Manhattan and A Day Without A Mexican have represented these stereotypes quite clearly, and that sadly reflects how people see them. However, most recently, the TV show Jane The Virgin is applying a more complex and realistic depiction of Hispanic characters by breaking these stereotypes.

For this article, it was important to be able to talk to professionals that have experienced dealing with the portrayal of Latinos, either personal or professional experiences. To gain a further understand the portrayal of Latinos in news and film, five subjects were interviewed about their opinion on the topic. Two of the subjects have a wide range of experience in journalism, as they have worked in media organizations for a long time. They both have similar ideas on the problem media has with reporting on Latinos. Two other subjects have great deal of experience in film and understand the struggles with misrepresentation of Latinos and ways to solve those problems. The last subject is a person that has experience with both film

The book Beyond El Barrio Everyday Life in Latina/o America by Gina M. Perez, Frank A. Guridy, and Afrian Burgos Jr. is a book about the stereotypes, citizenship, and community of Latina/os in the United States. Each chapter shows a new theme such as latinos in baseball, Latinas/os in the military, and Spanish radio. The book shows connection between different communities of Latinas/os and how they have struggled to be apart of the U.S. society beyond the boundaries that they feel limited to. This book was a difficult piece of writing for me to understand but has ultimately changed the way I view Latinas and has shown clear intersections of politics, representation, and citizenship of Latinas and Latinos in the United States.

In 2013, Latinos accounted for only 4.9% of the roles in the top 100 films of the year. From the beginning, Hollywood had always been dominated by white men and women. However, as time progressed there was a very slight change in cultural and ethnic diversity. Though it is more likely now than ever to find a Latino or Latina in a Hollywood film, their roles are often small, stereotypical, and almost entirely unimportant. As if it wasn’t hard enough to get any role in any Hollywood film regardless of ethnicity, Latinos have to endure playing a harshly demeaning role. Latino men are often cast as comedic relief and play gardeners, janitors, or thugs. Latino women are often cast as maids or mistresses. Aside from this, when women are cast as mistresses they are often submissive to their white male partners, meaning that not only are these roles ethnically demeaning, but also sexist. Along with Latino female sexualisation, though, Latino men are also heavily sexualized. Both Latino women and men have to deal with the exploitation of their culture for stereotypical roles in a movie. However, these are only some of the vicious patterns that attribute to the everlasting ethnic misrepresentation in the biggest part of mass media, Hollywood.

Latinos in U. S. A. and Hollywood’s Discrimination Hispanic or Latino, is a segment of the population in the States of the American Union that has grown in quantity, economy and education, and everything indicates that it would continue in the same way, as a result of the Hispanic people has inhabited here, even before this country conformed as the United States. Latinos also have made important contributions to this country in all aspects and levels and areas to society, of the sort of the arts, sports and politics. Cinema is considered an art, the seventh art, as well it is a form of expression and reflection of society and its times. In consequence, filming is a very important business, and Hollywood is the mecca of the industry. Then, we could expect that the significance of their presence would be properly portrayed.

From there on movies shifted from their portrayals of Latino males as "Latin lovers" to "urban banditos". Films changed from problems involving women, sex, and love to delinquency, drugs, and gang fights. Movies such as West Side Story, Scarface, and Fort Apache, the Bronx, all use Latinos as "scapegoats" to focus the problems of society to the immigration of Puerto Ricans to the U.S.

In today’s entertainment industry, whether it be books, films, advertisements, or television shows, white people are depicted terribly. Likewise, in her essay, Judith Ortiz Cofer tells of her struggles of being a Puerto Rican woman. Men sing songs to her, like “La Bamba” or “Don’t Cry For Me, Argentina,” just because she is Hispanic. They think she is promiscuous based on the way that she dresses, but it is really just because it is hot in Puerto Rico.

Race, Ethnicity in Films, and the Criminal Justice System  Young black and Hispanic men, who are considered members of a lower socio-economic status are most of the time portrayed as delinquents in popular culture, especially in crime films. Films such as Talento de Barrio, which stereotypically portrays Hispanic men as gang members and drug dealers. Training Day, which portrays both black and Hispanic men as gang members and drug dealers. These two films are great examples to illustrate how the environment, poverty, social class, gender, race, and ethnicity can be part of many of other factors that creates this idea of social structure. The negative stereotypes that are reflected in these type of crime films influence how these two minority groups are perceived in the criminal justice system.

Throughout the documentary the many stereotypes of Asian Americans generated by Hollywood are discussed. For example Cary Hiroyuki Tagawa discusses how he can either play ”The wimpy businessman or the villain”(Cary Hiroyuki Tagawa, Slanted Screen). The extreme nature of these roles causes Asian Americans to be seen as different from American society. As well those who view the media will associate their roles with their identity even though the films are fictional. The role of a wimpy businessman or a villain means that Asian Americans are either insignificant or when they are of importance it is because they have malicious intentions.

and I Love Lucy are two of Hollywood’s greatest entertainment monoliths; two spectacular sides of the same coin. The assimilation of Latino culture through the talent work of Desi Arnaz has forever changed the perception of Latinos in cinema, and yet bloodied fists of Tuco seem to cloud the memory of happier, more innocent times. The battle for ethnic equality has been fought for so long, its seems as if a justifiable equilibrium will never be reached…maybe it’s time to turn off the TV and