A Brief History Spain ruled Mexico from 1521-1821 and settled in Florida nearly 50 years before the US settled Jamestown. Little mention of colonial Mexico in North American lit Louisiana Purchase (1803) Struggle for the Santa Fe Trail (1821) Popular literature portrays cruel and inhumane Mexican Texas Revolution Alamo (1836), “Cruel” Mexicans vs “Gallant defenders” US-Mexican War (Mexican-American War), 1846-1848 Attacks on Mexican ethnicity as a whole Described as lazy, dirty Contrast to puritanical US customs Gold Rush (1848-1855) Many experienced Mexican miners Already living in CA or nearby Perceived as threat Lynching  Foreign Miners Tax (1850) The Greaser Act (1855) Overarching CharacterizationsBandido Origins in earliest days of film Broncho Billy and The Greaser (1914) the basis of good guy vs bad guy cinematic formula Continues in contemporary film & TV El Mariachi trilogy (1992, 1995, 2003) Or is this counter-stereotype?  Kingpin (2003) Or as ‘Moral Bandit’ Desperado (1995), Machete (2010) Today, typically seen as inner-city gang member or drug dealer Characterized as: American Me (1992), Carlitos Way (1993)  And, often accompanied by portrayals as law enforcersThe Harlot Female role originally corresponding with the male bandit Typical in early westerns Traces back to early films (My Darling Clementine, 1946) Still present Once Upon a Time in Mexico (2003), Bandidas (2010) Today, represented by:The Dark Lady Female counterpart to the Latin Lover From Delores Del Rio (Flying Down to Rio, 1933) to Maria Conchita Alonso (Colors, 1988) Altogether: Harlot & Dark Lady  Latinas = hypersexual, erotic, sexual fantasyThe Male Buffoon Used for comic relief Cisco Kid (1930s) The Birdcage (1996) That 70s Show (1998-2006) In early images: Today, characterized as:The Female Clown Counterpart to male buffoon  Characterized as: Carmen Miranda (The Gang’s all Here, 1943) Will & Grace (1998-2006) The Latin Lover Traces to early films of Italian actor Rudolph Valentino  The Four Horsemen of the Apocalypse (1921) In this case our, “Latin Lover” is a Frenchman living in Argentina often noted as origin of the character on film Continuous screen presence Ricardo Montalbán (Latin Lovers, 1953) to Antonio Banderas’ films (Never Talk to Strangers, 1995; Shrek, 2001, 2004, 2007, 2010) Characterized as:Unacknowledged stereotypes: Latinos as subordinate Crash (2004) Many of the background characters on primetime TVFilm Early Film Mexicans as villains White actors in ‘brownface Banditry, rape, murder, pillage, drunk, morally depraved, no regard for humanity Martyrs of the Alamo (1915) Mexican threat to White Americans The Greaser’s Gauntlet (1908) – DW Griffith 1930s Hollywood: Change in Latino stereotyping US movies boycotted by Mexico (1922)  Latin Lovers & Sexy Latinas Theme: interethnic relationships unsuccessful 1940s Hollywood: New need for opportunity World War II severely cut film distribution in Europe more favorable images (but often caricatures, like Carmen Miranda) some new and lingering stereotypes Post World War II Hollywood: Big Business Latin America became 20% of foreign business Through 1950s, more favorable Latino roles (often supporting) 1960s- 70s – Market shrunk, return of old stereotypes Latin American countries developed own film industries and screen personalities The number and quality of Latino roles in US film dropped dramatically Images that remained reverted to old stereotypes (greaser/bandido) Urban gang violence  Puerto Rican American The Young Savages (1961) West Side Story (1961) ?? Rita Moreno Mexican American Bring me the head of Alfredo Garcia (1974), Boulevard Nights (1979), etc.  1970s also marked by some nonthreatening images comedic representation of Mexican urban barrio “Cheech & Chong” Representation =  1980s and 1990s  Characterizations = A few exceptions: Stand and Deliver (1988), La Bamba (1987), Mi Familia (1995)Today? Success for Latinas Still largely in sexually charged roles Salma Hayei, Eva Mendes, Jessica Alba, Rosario Dawson, JenniferLopez, (Penélope Cruz) Less superstardom for Latino males John Leguizamo, Andy Garcia, (Antonio Banderas, Javier Bardem)Television Pre-1950s Infrequently depicted Latin Lover and Bandito-type images 1950s 3% of TV population  approximately 2.36% of US I Love Lucy (1951-1961)  but also traditionally stereotypical shows such as Zorro (1957) 1950 – The Cisco Kid 1951 – I Love Lucy 1957 – Zorro  End of the 1950s through the 1980s Decline from the 1950s to 1.5-2.5% of TV population  4.6% of US in 1970s; 6.4% of US in 1980s Roles converging in the area of law enforcement CHiPs (1977-1983), Miami Vice (1984-1990), L.A. Law (1986-1994) Simple minded Mexicans and laborers The Real McCoys (1957-1963), The Bill Dana Show (1963-1965) Mexican American barrio sitcoms Chico and the Man (1974-1979), Viva Valdez (1976), AKA Pablo (1984) Latin Lovers Fantasy Island (1977-1984), Chips (1977-1983) 1990s  between 1.1% and 2.9% of the TV pop  9-11% of the U.S. pop  Among the 800 primetime characters on TV in 1994, only 11 were Latino 2000s 3.8% of TV pop (12.5% of US) 2002-2004: Good Morning Miami 2002-2007: The George Lopez Show 2003: Kingpin (violence) 2005 (debut): Desperate Housewives Eva Longoria (as Gabrielle Soliz) Pro =  Con =  2006-2010 – Ugly BettyToday 4-6.5% of roles in primetime programming 15.5% of U.S. population Characterizations: Most often in sitcoms and crime-dramas Crime = primary topic of discussion for Latino men Objects of aggression by officers Nearly absent from all other genres Physical attributes:Additional Considerations:Spanish language networks: Univision , Telemundo, etc.  Not without factors to consider:News Rarely seen or covered in the news Rarely used as ‘experts’ or authority figures Portrayed as threat to US way of life. Specifically:Effects of Exposure Among Whites, TV exposure to negative stereotypes = Elevated perception of success of Whites in society Education, economic = increase