SYLLABUS

CALS 393: Chicano/ Latino Cinema (3 units)    Dr. Arturo Ramírez

Course Schedule #: 28772-001

Course Description

Comparative, analytical, and critical perspectives on Chicano/Latino cinema in a broad media framework. A study of the Chicano/Latino in American film and media made by Chicano/Latinos or non-Chicano/Latinos, with the focus on dramatic works. The substantive key is the special consideration of this cinema/media works which leads to the focal point of the course: the emergence since c1980 of Chicano/Latino film revealing the culture from within. That point leads to further comparison/contrast analysis and marks an important dividing point.

The comparative framework here, then, relates to U.S. Chicano/Latino-oriented film in the U.S. in the context of the global film/media industry, including that of the Hispanic World, primarily Mexican in so far as there is a clear Mexican legacy or links in Chicano cinema/media legacy. Central and fundamental, however, are American mainstream, or independent, films which at times portray the U.S. Chicano/Latino experience. But the heart of this course is on Chicano/Latino cinematic/media self-portraits.

The central concern is to study interdisciplinary topics by means of films. Ranging from a study that involves history, cultural distinctiveness, socio-political-economic issues, and character types, these interdisciplinary framework generates internal Chicano/Latino interpretations of the principal focus of the course: U.S. Chicano/Latino film works. Other elements are contextual, comparative, and, ultimately, secondary. A comparative and broad American and Latino framework gives way, then, to an overriding focus: U.S. multicultural society and the basis, history, views, creation, and critical interpretation of Chicano/Latino film. (This course satisfies upper division ethnic studies in GE, Category CI.)

Cinema has often been said to be the art form of our times. Cinema is fundamental in a contemporary audio-visual, multi-media, information/entertainment/popular culture, electronic, computer-centered, technologically-advanced civilization. The scientific, the technologically -based information revolution merge with the artistic and an orientation toward entertainment/ documentation/serious artistry.

Universal, egalitarian, democratic, and multilayered, cinema/media has an appeal for all, from the highest to the lowest levels in categorizing society, no matter the differences in education, economics, or culture. A quick bombardment of images in a hypertext montage reaches all, with virtual reality more compelling, so often, than reality itself, seemingly expressive of an age of overload.

Here in this course, however, humanistic interpretations remain central to considering Chicano/Latino film as a performing art. Grounding devices becomes necessary: history and criticism, artistic values and societal context. Genres; multilayered intentions and outcomes; influences; specific meaning conveyed by a distinctive culture--these and other constituent elements become essential.

Cinema as art and popular culture directly present vivid -- literally graphic -- images for viewers/students, making possible powerful effects and intense viewer reactions. Highly expressive, effective communication becomes a key overall criterion for evaluation of cinema and related media works. The two--cinema and media--are closely associated, interdynamic, interactive, reciprocal, mutually reinforcing each other. A representation of a culture in an integral, multifaceted way also emerges.

For historical, regional, and demographic reasons, it is necessary to study primarily the group consciousness of the Chicano here in key meaningful media art works; or, as expressions of popular culture. Both the Chicano and the Latino must be considered within a larger society. Indeed, the image of the Chicano/ Latino, often distorted or ignored, becomes graphically vivid and comprehensive, detailed and precise, yet emblematic, as a whole, of a people, a culture, a problematic, a way of life, and a setting. The viewer "enters" the culture and should gain an understanding, appreciation, and a more complete, accurate view of the Chicano/Latino in film images and representations.

Locally and regionally, Chicanos constitute the largest minority in the Southwest and in California. One out of every three residents in California is a Chicano or a Latino, mostly a Chicano--that is, deriving from a Mexican heritage. A new largest minority ethnic group in the U.S. took its place according to the 2000 census. Latinos, over 13 % of the total US population with more than 33 million now constitute, with all their diversity the largest U.S. ethnic group. This includes Chicanos, which constitute 60% of Latinos, along with other groups within the Latino "umbrella," including Puerto Ricans and Cuban-Americans. Latinos, 13% of the U.S. population, overall the nation’s largest minority, is manifestly understudied and underrepresented in almost all ways.

For our purposes, in mass media and cinema, Chicano/Latinos are often barely present. At times when Chicanos/-as and Latinos/-as are brought to the fore, or even appear in film/media, they are often stereotyped, distorted, and even denigrated. Perhaps more often the Chicano/Latino is neglected, ignored, and marginalized, and even rendered virtually invisible in general societal consciousness. Sometimes only negative, denigrating, and pejorative representations of Chicano/Latinos appear--at times quite prominently. The imperative for further study and knowledge, and understanding of the Chicano/Latino is clear. Greater scholarly information and deeper analysis, academic awareness, and appreciation of Chicano/a/Latinos/as as a people with a varied and diverse but distinctively similar Latino culture within a broader multicultural U.S. society has become increasingly indispensable. Ripples of popular music’s "Latin Fever" have been felt in cinema and other media. Demographics have helped Chicano/Latinos reach a critical mass that has lead to a necessary point of departure for inclusion in U.S. society and for serious study.

The hope is to promote a more substantive understanding of Chicano/Latino film and media art and such popular culture expressiveness. In cinema/media, the distinctive basis of the Chicano/Latinos comes alive as part of the universities, of humanity in general. In humanistic studies, in the academic study of a performance art, a historical shedding of light, analytical dissection, scholarly depth, a deeper study of context are necessary. All result in greater understanding, and less of a distance to "the Other" or feeling of "differences." Film and media, then, are called to perform multiple high functions. Besides unveiling art works that merit serious study, entertaining popular culture films/media works within the Chicano/Latino field are also valuable as multi-layered works charged with significance that has to be uncovered. To have vivid and compelling images before us also signifies the need to delve from a surface "text" to a "subtext." And the more we know about the "context," the more valid significance that can be extracted becomes clear.

1. The interdisciplinary study of subjects and issues central to a consideration, aesthetically and culturally, of Chicano/Latino films and their experience, both as products of the U.S. and as a product of humanity. Chicano/Latino group unity (with all of its diversity), then, is both centered around a particular culture, but also part of the universal. In fact, perhaps it is the universally general in humanity and not a narrowly focused ethnicity that predominates.

2. Yet, the elaboration of a cultural studies framework is a central concern, for one must consider context, "the Other" and "differences": history, culture, social institutions, ideology, and a distinctive tradition. Principal content topics in this course include the study of identity, solidarity, and alienation; immigration and assimilation; feminism and the role of La Chicana/ La Latina; stereotypes; religion and spirituality; social protest; the social bandit; power struggles; alternative or complementary views of other and diverse ways of life, the Latino, as a comparison/contrast to essential Euro-American ideals.

Although humanistic concerns remain basic, as do artistic considerations, Chicano/Latino specificities provide content. Key elements include the distinctive traditions inherent in Chicano/Latino heritage; the nature of Chicano/Latino cultural ideals and traditions; a bilingual, bicultural, and at times bi-national reality; Chicano/Latino heroes; and cinematic and other unique --"ethnically specific" -- elements, contributions to American culture by Chicano/Latinos which underline the essence of Latino/-a culture on its own as a basis for a particular way of life, that has a significant role to play globally.

3. A comparative, critical, and analytical study of Chicano/Latino cinema/video/media as art forms as well as cultural "texts.". Although aesthetic issues are paramount, also enormously significant is the exploration of the development of the image of the Chicano/Latino ethnically, nationally and internationally within a cultural studies framework. To study the Chicano/Latino is to study the U.S., global issues, and broad universal themes. "Text" and "context" are intertwined.

4. The consideration and study of aesthetic and humanistic ideals is at the heart of the course. The student's horizons should be broadened; sensitivity to Chicano/Latino cinema and films that are so oriented should be heightened. Knowledge and awareness of the cinematic art form and the Chicano/ Latino people should be enlarged. The course contributes to the ideal of an educated person who knows various cultures and other ways of life. One’s studies in this course should also lead to a sensitized sensibility in relation to culture, society, and film. On the other hand, for the Chicano/Latino student, familiarity and "the shock of recognition" may well be paramount.

A basic goal is to stimulate the development of artistic criteria for film and art and further self-examination (especially relevant for those who grew up as part of Chicano/ Latino heritage and tradition, as mentioned.) Yet, so much is also generally applicable, just as substantial themes express the distinctiveness of Chicano/Latino culture and character, resonance is felt by all. An increased alertness should result in the emergence of more careful attention to the nuances of cultural, societal and environmental context. This course should help to counterbalance surface views that often seem to prevail, including simplistic stereotypes, character types, images, and representations that are products of ethnocentrism, racism, and sexism. By promoting a deeper understanding and greater knowledge, dehumanizing tendencies may thus be outweighed by art, the aesthetics of film, and by Chicano/Latino cultural images, in a popular culture format. These self-portraits emerge from within Chicano/Latino culture: self-portraits by Chicano/Latino filmmakers generally supersede much of the marginalization and over-generalizations.

More contemporary tendencies show that Chicano/Latinos are far from isolated; instead, recent film currents show more and more interaction between the Chicano/Latino and Euro-Americans, more and more of an emphasis on the reality of a multicultural society. Greater general awareness and knowledge of film conventions, their historical development, techniques, style, representations, and influences should also be fostered.

5. The promotion of oral and written communication skills in the articulation of response to Chicano/Latino film. It is essential to further a heightened knowledge and sensitivity to Chicano/Latino media and the cultural experiences that appear in such films expressive of United States Latino life experiences. Deeper general awareness of film representations, "realism" and "authenticity" and a convincing, compelling verisimilitude are also developed. But a well-articulated response from the viewer/student also is required. The development of criteria, for greater precision in the substantiation of one’s response to and judgment of Chicano/ Latino film, is a point of departure for many other applications, such as critical and analytical thinking. The promotion of skills in oral and written expression should, then, follow. A comparative approach also is part of charged, more insightful reflection on currently enormously important art forms and images that are a part of a pervasive media, a part of popular culture. Emerging innovative technologies that are creating new art forms, communication, and delivery systems also merit careful study.

Lecture/discussion will be employed to supply background and analytical commentary and reflective points of departure on the films or film segments to be shown. Brief reaction papers kept by the student in a notebook as a Journal also will serve to stimulate further general classroom discussion. Cumulatively, these writings will serve to develop student writing skills and will be picked up at least once before being turned in at the same time as the Final Exam. The Journal may, in consultation with me, take other forms, such as a portfolio, with the gathering of materials of interest to the student and of relevance to the course: Chicano/Latino cinema/media; issues involving electronic media and the Chicano/Latino. Films and writing about them must be kept absolutely central, inside and outside of the classroom, without neglecting readings on and analysis of Chicano/Latino film, including library work. Please see me about other possible work you have in mind.

The films for this course will be selected from the following "approved "List" (to be added to, or amended, as necessary):

A number of short films, in essence, dramatic (like Hidden Parts, or Vanessa, or Columbus on Trial, but some documentaries: El Mojado (The Wetback) or Corpus and several documentaries related to Selena are available, "authorized," or unauthorized. Let me know about other possibilities besides those on the above Approved List; other media works should certainly be considered. The television series genre also offers several possibilities that may be studied: Resurrection Boulevard (the first TV series with Chicanos/Latinos both in front of and in back of the cameras, now in its second year) and The García Brothers.

Please talk to me about other possibly approved possibilities for your compiling an extensive Journal outlining your viewing of Chicano/Latino, or Chicano/Latino-oriented film, and materials (books, articles, reviews, etc.) related to these films. The Journal should be presented in a word-processed, double-spaced format. In general, students should limit themselves to the above-mentioned films, some viewed and discussed in class; other available outside of class; related materials, if you choose, should allow for a strong comparison/contrast framework. In general, besides classwork, at least ten full-length Chicano/Latino films are required viewing as homework for the semester. YourJournal will be picked up twice during the course of the semester, although please feel free to consult me about your journal-writing work as needed. Please keep a photocopy of all of your writings and as much of your source materials as possible (downloaded, or printed, articles or reviews, photocopied chapters, articles, reviews, clippings, etc.)

1. Chicano Renaissance: Contemporary Cultural Trends, ed. by David R. Maciel, Isidro D. Ortíz, and Maria Herrera-Sobek

2. Chicanos in Film: Representations and Resistance, ed. by Chon Noriega

3. Aztlán: Chicano Culture and Film, co-edited by José Villarino and Arturo Ramírez

For other key readings, check the Schultz Information Center and the Reserve Collection for books such as: The Multiethnic Eye, edited by Chon Noriega; Chicano Cinema: Research, Reviews, and Resources, edited by Gary Keller; U.S. Hispanics in Film, by Gary Keller; Hispanic Hollywood: The Latins in Motion Pictures, by George Hadley-García; El Norte: The U.S. Mexico Border in Contemporary Cinema, by David R. Maciel; The Latin American Image in American Film, by Allen L. Woll; Images of the Mexican American in Fiction and Film, by Arthur G. Pettit; Rebel Without a Crew by Robert Rodríguez; The Bronze Screen: Chicano and Chicana Film Culture, by Rosa Linda Fregoso; The Chicano/Latino Image in American Film by Frank Javier García other books. Also note other films, books, and resource material available at the Schultz Center.

1. Attendance, Oral Participation, In-Class Written Work, Quizzes..............................................25%

2. Journal of Written Work on Chicano/Latino Film0--responses; reactions; analysis; commentaries; reviews, etc...(Final Due Date, Dec. 13, 2001)..................................................... 25%

3. Mid-Semester Exam (Fri., Oct. 12)............................................................................................25%

4. Final Exam (Wednesday, Dec. 12, 11 am-12:50 pm)................................................................25%

Attendance will be a part of the course grade. Should you have a disability, please let me know so that accommodations can be made for you. Note also that the Disability Resource Center is exceptionally helpful.

Since in-class written work has the objective of stimulating discussion, the student should polish and expand this work and incorporate it into "The Writings on Chicano/Latino Film" Journal. Brief out-of-class writing assignments will also be given. Writings should be on films on the above "approved" List viewed in or outside of class.

You are required to view a minimum of ten feature-length Chicano/Latino films outside of class during the semester. Among these: Zoot Suit and Touch of Evil. These two films are required out-of-class film viewings, to be discussed near the end of the semester, as indicated in the course schedule. ln-class films should also be included as the stimulus for response papers for your Journal, as should all of your other viewings. Please discuss with me other possibilities you might have in mind.

In-class quizzes, both multiple choice or True/False, or written, will be a part of this class. They will relate to current material. No make-ups will be allowed, but two quiz grades will be dropped.

Make-ups for the two major Exams will not be allowed, although you may discuss such matters thoroughly with the instructor for possible alternatives. If you have to miss the Final Exam, you will have to discuss the matter with me for an Incomplete. Late papers will be accepted, but grades will be reduced.

Key films from the "Approved List Of Films" for viewing should be available at the Multi-Media Center. A number of other films are also generally available at video rental stores. Others will be shown only in class. Study guides and review sessions will be a part of preparation for exams, whose format will be described in a timely manner. A schedule of specific assignments, classroom films to be viewed and discussed, and key readings, will also be available. Besides office hour consultations or communication by phone or e-mail, I will always be available to talk to you after class should you have any questions, problems, need clarification or further help about anything relating to the course.

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