Blog 4

From your reading of the first half of the Sturken and Cartwright chapter, "The Global Flow of Visual Culture," provide a brief definition of globalization. What conditions, in terms of the sovereign nation-state, communication and transportation technologies, the movement of peoples and media "flow", does globalization entail? According to Sturken and Cartwright, how is the Bollywood industry since the 1990s illustrative of how our understanding of a "national" cinema is transformed in our current era of globalization?

Globalization can be reworded as the assimilation of cultures from all nations and races. This process has been fueled heavily by the expansion of technology, instant communication, and economic factors that allow regions to specialize in production of certain goods. Though we are far from fully assimilated, I feel this is a step in the right direction. More specifically focusing on technology, one can feasible go anywhere they want to (provided they have the money or means) within a day or two. In addition, one can communicate with someone instantly through various means of Internet based social networking, email, and cellular phones. Nobody is too far out of reach. An example supporting the notion globalization has occurred lies in Bollywood. Since the 1990s, much has changed and low-budget films with subtitles are not all that rare to find in the United States. Media has essentially become global, and nothing remains necessarily exclusive to a particular region of the planet other than their maintaining of their identity as non-American.

Blog 3

Describe the “greaser” and the “Latin Lover” stereotypes. When did these stereotypes emerge and how were they represented on screen? How does the concept of “whiteness” inform their circulation in U.S. cinema? What is the “Good Neighbor Policy” and what impact did it have on the representation of Latinos/as? How does the concept of “whiteness” inform the ways Latino/a actors were promoted within the U.S. film industry (provide at least one example)? What shifts occur in Latino/a media representation after the Civil Rights movement? Discuss at least one Latino/a actor and/or director (one from the immediate post-Civil Rights era and one contemporary) and briefly explain how their careers are influenced by the history of Latinas/os in American film.

Both the greaser and Latin lover are common stereotypical media representations of persons appearing to be of Southern American decent. The greaser is typically an oily, brown toned man with a black mustache. The greaser typically plays two roles; one being an aggressor, the other a lazy-care free character. The Latin lover stereotype originated in the 1920s, and is marked typically with a sense of mysteriousness enriched by a smooth accent, unmistakably tan skin, and long hair. Latino women portray similar characters. The Latin lover almost plays the role of a tan American heartthrob for white American women, whereas the greaser typically wouldn’t exercise similar characteristics.
The Good Neighbor policy was a project developed by the government to establish better relationships with our neighbors to the south. As a result of this implementation, Hollywood was coerced into attempting to portray more amiable relationships with our bordering countries.
Cesar Chavez was an actor who used his status to aid Latino people into progressive civil rights movements. Cheech Marin became famous by playing the stereotype in more recent comedies, and has also attributed to similar Latino contributions.

Blog 2

What is Orientalism? What purpose does it serve? What are the images associated with this idea/ideology? Dr. Fu Manchu and Charlie Chan were two recurring characters in Hollywood film. How would you describe these characters? What was unusual about the casting of the characters? Describe the “Dragon Lady” of Hollywood cinema? What actress was typically associated with these sorts of roles?

What economic, political and social circumstances led to the "Great Migration" of African-Americans to U.S. northern urban centers in the early 20th century? What impact did the Production Code of 1934 have on the use of African-American stereotypes and actors in Hollywood films? What were the economic and social challenges faced by African-American independent filmmakers emerging in the 1970s and 1980s? How is Spike Lee's career an example of the negotiation of critical and socially relevant filmmaking and the Hollywood industry?

“Orientalism” is a social construct existing in America applying to persons from primarily Asian decent. Takaki suggests that “Orientalism” is similar to a “Negroization” process that victimized persons with black skin. It allows for discrimination, and reinforces a sense of white hierarchy in culture. Images associated with this idea include almond shaped eyes, yellowish skin, dragons, rice, and other common “Asian” themes. I would describe the characters of Charlie Chan and Dr. Fu Manchu as portraying typical stereotypes that Americans might have of Asian people. Neither of these characters were played by persons of Asian decent. The “Dragon Lady” is the female stereotype of an Asian woman. Instead of using cunning tactics, and intelligence, her character uses the idea of sexual fantasies and exotic desires to woe white men.
The “Great Migration” was influenced by emancipation, and the former slaves still worked farms under white ownership. The opportunities for African Americans were much greater in the north. The 1934 production code caused less usage of the African-American stereotype in films. In the 70s and 80s, there wasn’t sufficient funding or opportunities to allow African-American independent film-makers to “take-off.” Spike Lee’s career depicts a leading film producer at this time, and his films offer the notion that there is no simple solution to segregation ideals, and that race was extremely complex, and shouldn’t be overlooked.