Chicano Studies: Latino Narrative Films - Essay Example

Chicano Studies (Latino Narrative Film-1990 to present) Answer to Question no 3. Introduction: Compared to early decades of the 20th century, the tradition of Latin American film making and narrative has made enormous progress till the contemporary era. At the initial stage Latin American film direction and productions were basically aimed at receiving affiliation from the mainstream Hollywood film industry. The socio-cultural turmoil among Latin American nations, lives of common people, their dilemma and problems of Revolution (1911-19) were used by the Western directors; compared to that the Latin American film industry remained almost passive and was busier in importing movies from Europe and America. However, since the 1930s onwards a change was observed in the Latin American film industry and initiation of the change occurred especially among Brazilian film directors. For a time period of almost two decades a cultural struggle within the Brazilian film industry was gradually becoming conspicuous and it was mainly reflecting a desperate quest among the film makers to develop their own identity, going beyond the realm of oppression that they encountered due to Western cultural acculturation. Prior to this period Mexican melodramatic films and Brazilian “chanchadas” were only remaking of Hollywood style film narrative. During the period of 1930 to 1950, serious attempts were made to create such films that would elevate the aspects of Latin American life, their social, cultural trends and different aspects of a Latin American individual’s life within such social, cultural, political and economic domain (Hart 1-5). In this context, influence of Italian cinematic narrative created huge importance on the Latin American film narrative. The post Great War II period, in the history of Italian art is characterized with Neo Realism movement which mainly attempted to focus on everyday life of common people in the post War situation. The trends of Neo Realism in the context of Latin American film making played a considerably important part in developing specific voice of the film makers. During the 60s, French New Wave film narrative technique provided additional impetus to the entire system. The next two decades are considered as the most important phase in the history of Latin American films, as the directors have created and conveyed an original narrative style that was entirely different from Hollywood tradition of mainstream filmmaking and soon the Latin American film industry made its access into the mainstream film industry (Hart 7-13). Huge success and international level recognition of films like Como agua para chocolate and Central do Brasil were “the final, irrevocable proof that Latin American cinema no longer needed the accolade of ‘best foreign film’ in order to achieve the accolade of international acceptance” (Hart 13). Latin American Film and Discrimination from Hollywood Mainstream: However, in this context I must needs to be mentioned that despite at the international level of the art of film making, the Latin American film making techniques, narrative and overall artistry received huge appreciation but when in comes to Hollywood context in specific, the undercurrent of discrimination against Latin American people becomes clear through the role they have been provided or the way they have been portrayed in the Hollywood films. It is quite surprising to find that rather than providing adequate emphasis on their entity as human beings, the mainstream Hollywood films have showed an inclination towards presenting the Hispanic people in a biased manner; as if their cultural identity receives more importance in these films compared to their actual human status in a particular socio-cultural existence. In this context Noriega has perfectly observed, “In the final analysis, “Chicanos and film” falls within the domain of two national cultures: American and Americas … Our representation for the most part has been limited to the commercial film and television industries of Hollywood and Mexico” (Noriega; Fregoso xvii). The Latin American film industry, through its narrative style, overall artistry and innovation of new techniques have already proved the fact that it has all sorts of creative capacities for making great films; yet the issues of discrimination have been prevalent even in the recent times. A comparison of role played by Salma Hayek in the film Frida with the kind of roles that she has played in films from Hollywood would help to receive a stronger clarification in support of the observation. Salma Hayek in and as Frida: Prior to getting deep in the discussion regarding role of Salma Hayek in Frida, it needs remembering that the actor was producer of this film and she also has provided a great deal of attention towards portraying the character of Frida, the famous Mexican surrealist artist in a quite realistic manner. On one hand, the film exhibits intellectual revolution in the Mexican context and on the other Frida also has emerged as an embodiment of feminist evolution as well as participation at equal level with their male counterparts in such revolution. Moreover, the character of Frida would only have received a sense of fulfillment if different traits of her personal life, construction and deconstruction of her personality and finally her self-respect towards her artistic persona could have bee provided with adequate attention. There is no denial of the fact that the fusion of directorial capability of Julie Taymor, cinematographic and editing mastery of Rodrigo Prieto and Felipe Fernandez has helped in producing the aesthetic appeal in the film that has helped in generating a class of its own (Friedman 186). The character of Frida has emerged in the film, through excellent portrayal of her emotional faculties, artistry, frequent and spontaneous voyage into the world of imagination, sexuality, transformation and construction and deconstruction of her personality in different phases of her life. It is important to notice in the film’s context that it has never particularly focused on Frida as an artist; rather it has attempted to elevate Frida as a human entity. It is due to this reason Frida has not remained stagnant within the domain of artistic creativity or her individual isolation but she actually has become a representative of the condition of women in contemporary Mexico. At the same time, considerable focus on the socio-political affairs happening around Frida and her spontaneous participation the entire situation also provide the audience with an impression regarding the prevailing Mexican social situation in the contemporary era. The artistic scenario of Mexico, contemporary to that of Frida’s, exhibits a steam of “mestizo consciousness, a complex interweaving of both the European and the Latin American, of the “indigenous and the modern…” (Friedman 189). The emergence of Frida as an artist, has received a great deal of influence from the aesthetic setting, “In this new space that was being crafted for a modern Latin American aesthetic, the racial and “organic” nature of women was still invoked …. Kahlo … influenced by the post-revolutionary investment in the indigenous culture, and its conscious foregrounding of folk art as a vital part of the modern nation, fashioned herself as a modern mestiza” (Friedman 189). Salma Hayek’s role as the protagonist in the film has been passionate, technically well oriented and reflective of her deep perception of Frida’s character. The film has focused on development of Frida as an individual, as an artist since her adolescence. Salma Hayek has assimilated her persona so deep in Frida’s character that she has been able to depict the stains of her pain, isolation, physical desire and artistry through acting. A very important part of such character portrayal is that it never seems to the audience that Frida is a product of Western or Hollywood culture. Despite every traits of her personality, which has generated from contemporary Mexican social, artistic and aesthetic cosmopolitanism, Frida is very much Mexican and universal at the same time, in terms of her creativity and human endeavor. Hayek’s portrayal of Frida’s character is not only a clear assertion of excellent acting technique but at the same time it is remarkable because the actor has been able to free herself spontaneously from the ongoing trend of acting according to Hollywood style. Salma Hayek in Hollywood Films: Compared to the universal but specific focus on Frida’s character, as portrayed by Salma Hayek, the role of Isabel in the film Fools Rush In (1997) is quite stereotypical and confined within a particular cultural context. The film exhibits love affair between Alex and Isabel, from different ethnic backgrounds. Crisis of the film occurs as families of Alex and Isabel encounter each other for their marriage, fusing with each other’s cultural domains and finally leading to confused understanding of each other. While Frida provided a masterful depiction of “social, cultural and political contexts” (Shaw 6) of Mexico and attempted to create a theme of universal appeal, Fools Rush In shows condition of a Latin American women within a different socio-cultural context. Frida, though being entirely Mexcian, encompasses a theme of universality in her character but Isabel has just remained another Latin American woman, dealing with her problems in American context. Frida, through her character, has exhibited different dimensions of her personality as a human being but when it comes to Hayek’s deception of Isabel, it is very much unidirectional and stereotypical at the same time. Chon A. Noriega observed that Chicano films, as a discipline of practice, has provided scope for “special admissions, trainee programs, public affairs series, production grants, distribution agencies, exhibition slots and so on. From this discursive origin, “Chicano cinema” constructed itself in opposition to Hollywood and in alliance with New Latin American Cinema” (Noriega, and López 4). However, if the context of the film and role offered to Salma Hayek are interpreted under this light, Fools Rush In will emerge as a typical Hollywood film and Hayek’s role as Isabel can be observed as typical reflection of Hollywood trend, quite different than that of the Chicano traditions. Conclusion: Latin American film industry has created its own identity, going beyond the realm of conventional Hollywood mainstream films. Despite the fact that it has received considerable influence of film making from French and Italian tradition but fusion of these aspects has not been able to establish its own identity; rather creative impetus of Latin American film makers has helped in developing a separate identity of its own. However, irrespective of all these efforts, when it comes to evaluation or appreciation of Chicano films in the Hollywood context, it is quite surprising to see that on most of the occasions such creative efforts have been judged in a biased and discriminated manner. The passion or involvement that Latin American actors have exhibited during making films with their own initiatives and reveled versatility of their acting, in the kind of roles they actually are offered in the Hollywood film industry, do not always help in complete evaluation of their potential. Such observation not only reveals the truth regarding limited scope of Latin American cultural reflection in the Hollywood context but it also shows the theme of discrimination that continued since early dawn of the evolution of Chicano films. Works Cited Hart, Stephen M. A companion to Latin American film. Woodbridge: Boydell & Brewer Ltd. 2004 Fregoso, Rosa Linda. The bronze screen: Chicana and Chicano film culture. Minnesota: University of Minnesota Press. 1993 Friedman, Jonathan C. Performing difference: representations of "the other" in film and theater. Maryland: University Press of America. 2008 López, Ana M. and Noriega, Chon A. The Ethnic eye: Latino media arts. Minnesota: University of Minnesota Press. 1996 Shaw, Deborah. Contemporary cinema of Latin America: ten key films. New York: Continuum International Publishing Group, 2003 Read More