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Real Women Have Curves is a 2002 American comedy-drama film directed by Patricia Cardoso, based on the play of the same name by Josefina López, who co-authored the screenplay for the film with George LaVoo. The film stars America Ferrera as protagonist Ana García. It gained fame after winning the Audience Award for best dramatic film, and the Special Jury Prize for acting in the 2002 Sundance Film Festival. The film went on to receive the Youth Jury Award at the San Sebastian International Film Festival, the Humanitas Prize, the Imagen Award, and Special Recognition by the National Board of Review.
Guadalupe Ontiveros was an American actress best known for portraying Rosalita in The Goonies, and Yolanda Saldívar in the film Selena. She acted in numerous films and television shows. She was nominated for an Emmy Award for her work on Desperate Housewives and received critical acclaim for her role in Chuck & Buck, for which she won the National Board of Review award for Best Supporting Actress, and was also nominated for an Independent Spirit Award.
Symbolic annihilation is a term first used by George Gerbner in 1976 to describe the absence of representation, or underrepresentation, of some group of people in the media, understood in the social sciences to be a means of maintaining social inequality. This term is usually applied to media criticism in the fields of feminism and queer theory to describe the ways in which the media promotes stereotypes and denies specific identities. Gaye Tuchman (1978) divided the concept of symbolic annihilation into three aspects: omission, trivialization and condemnation. This multifaceted approach to coverage not only vilifies communities of identity, but work to make members invisible through the explicit lack of representation in all forms of media ranging from film, song, books, news media and visual art.
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Reel Injun is a 2009 Canadian documentary film directed by Cree filmmaker Neil Diamond, Catherine Bainbridge, and Jeremiah Hayes that explores the portrayal of Native Americans in film. Reel Injun is illustrated with excerpts from classic and contemporary portrayals of Native people in Hollywood movies and interviews with filmmakers, actors and film historians, while director Diamond travels across the United States to visit iconic locations in motion picture as well as American Indian history.
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The Bronze Screen directed and produced by Susan Racho, and Alberto Dominguez, examines, analyzes, and critiques the portrayal of Latinos in Hollywood over the course of a century. Released in 2002, the documentary traces the different stereotypes evoked by Hollywood throughout the mid 19th and 20th century. This is done through the use of silent films and small excerpts from a variety of movie genres that feature Latinos. Carmen Miranda and Margarita Cansino are a few of the many Latin actors and actresses whose careers, according to film historians, directors, and fellow actors featured in the documentary, were fabricated and highly manipulated by Hollywood. Furthermore, these actresses are used to illustrate the politics behind American Cinema and Latino/a negative representations in Hollywood. In addition to exploring stereotypes and negative representations of Latinos, The Bronze Screen also acknowledges the contribution and emergence of Latino writers, directors, cinematographers, composers, and graphic designers. Luis Valdez, Pablo Ferro, Moctesuma Esparza, and John Alonzo are a few, among the many featured in the documentary, that have paved the way for other Latinos who want to work in the industry, as well as, portrayed Latinos in a more positive manner through their films.
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The relationship between race and video games has received substantial academic and journalistic attention. Games offer opportunities for players to explore, practice, and re-enforce cultural and social identities. Because of the multifaceted cultural implications of video games, there may be issues of race involved in the player base, the creative process, or within the game's universe. Video games predominantly created and played by one racial group can unintentionally perpetuate racial stereotypes and limit players' choices to preconceived notions of racial bias, and issues of representation and harassment may arise in the industry and the player community.
The female gaze is a feminist theory term referring to the gaze of the female spectator, character or director of an artistic work, but more than the gender it is an issue of representing women as subjects having agency. As such both genders can create films with a female gaze. It is a response to feminist film theorist Laura Mulvey's term "the male gaze", which represents not only the gaze of a heterosexual male viewer but also the gaze of the male character and the male creator of the film. In that sense it is close, though different, from the Matrixial gaze coined in 1985 by Bracha L. Ettinger. In contemporary usage, the female gaze has been used to refer to the perspective a female filmmaker (screenwriter/director/producer) brings to a film that might be different from a male view of the subject.
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References
- ↑ Hall, P. (11 September 2013). "Latinos Beyond Reel". Video Librarian. 28 (5): 71–72.
- ↑ Navarro, Mireya (28 July 2012). "Lupe Ontiveros, Who Portrayed Maids and Moms, Dies at 69". The New York Times.
- ↑ Puga, Kristina (13 March 2013). "Latinos Beyond Reel: Film Hopes to Change Latino Stereotypes In media". NBC Latino. Archived from the original on 20 March 2013.