By Frederick Luis Aldama (eds.)
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Extra resources for Latinos and Narrative Media: Participation and Portrayal
Camilla Fojas’s essay, “Border Media and New Spaces of Latinidad,” opens the door to this first section of essays. Fojas considers how a range of borderland visual media formats—documentary, television, and film, and comedies—at once speak to the issues that gravitate around the US–Mexico border such as immigration, drug trafficking, violence—as well as complicate mainstream images and storylines. A. (1987), the activist film Bread and Roses (2000), the mockumentary Day Without a Mexican (2004), the television reality series Homeland Security USA (ABC 2009), the neo-Western The Three Burials of Melquiades Estrada (2005), and the critical cross-genre popular border film, Machete (2010).
In a focused analysis of Anurag Basu’s Kites (2010), Ghosal reveals how the film clears a place within the traditionally conservative Bollywood film space to represent the ad-mixture of Indian and Latino (Mexican). ” The new Latino/Indian filmic space that is remapped (in and across New Mexico’s MULTIMEDIATED LATINOS 29 landscapes) is a hybrid concoction of exotica: Bollywood’s macho hunk (Hrithik Roshan) and Mexico’s Latina sexual icon (Barbara Mori). It is also, however, a filmic space that affirms the culturally and linguistically disjunctive worlds of its Latino and Indian protagonists—even if only an affirmation and redemption that takes place in their dying embrace.
While Will & Grace made headlines for its depictions of gay characters, its Latino presence came in the brief appearance of a 22 FREDERICK LUIS ALDAMA maid; we had the arrival of a Latino investigator with Cheech Marín as Joe Dominguez (Nash Bridges, 1996–2001) but who finally did all the work and cleanup only so that the Anglo protagonist (Don Johnson) could reap all the glory; ABCs Gideon’s Crossing (2000–2001) featured the Latino character Max Cabrenas, but his sole purpose seemed to be to offer empathic support to emotionally overwrought Anglos; The 70s Show (1998–2006) introduces the oversexed, buffoon “Fez” (played by Miami-born Colombian/Venezuelan, Wilmer Valderama) who constantly trips on his own malapropistic bumbles; in King of Queens (1998–2007) there was the thick Spanish-accented Rico whose existence seemed only to serve as sounding board to all varieties of racialized and sexualized jokes; on Felicity (1998–2002) the Latina character Natalie played the malinche figure, betraying all in her way to get her way.
Latinos and Narrative Media: Participation and Portrayal by Frederick Luis Aldama (eds.)