The Bronze Screen introduced both positive and negative portrayals of Latinas and Latinos in film. While there are plenty of positive Latino roles in films, Latinos and Latinas should be included in more positive roles because the negative roles Latinos have in films cause negative stereotypes. Positive and negative representations of Latinos in films has always fluctuated throughout history, however the more negative ones seem to always overpower the good ones. The film, “The Bronze Screen”, gave many examples of the negative roles Latinos played in films throughout film history. Early films included Latino actors, however they did not always have a lead role or even a positive one.
Hamilton by Lin-Manuel Miranda stands as a monumental achievement in contemporary theatre, weaving together a tapestry of genres, intricate plot layers, and technical brilliance to create a transformative stage experience. This essay delves deep into the multifaceted aspects of Hamilton, exploring its genre fusion, complex plot structure, the symbiosis of acting and technical design, and the impact of its chosen theatre space. One of the defining features of Hamilton is its genre-bending nature. Miranda ingeniously blends hip-hop, R&B, and traditional musical theatre styles to craft a narrative that resonates across generations and cultural boundaries. This fusion not only reflects the diverse fabric of American society but also breathes new life into the musical theatre landscape, appealing to a wide range of audiences and redefining what a Broadway musical can achieve.
The immigrants entering the United States throughout its history have always had a profound effect on American culture. However, the identity of immigrant groups has been fundamentally challenged and shaped as they attempt to integrate into U.S. society. The influx of Mexicans into the United States has become a controversial political issue that necessitates a comprehensive understanding of their cultural themes and sense of identity. The film Mi Familia (or My Family) covers the journey and experiences of one Mexican-American (or “Chicano”) family from Mexico as they start a new life in the United States. Throughout the course of the film, the same essential conflicts and themes that epitomize Chicano identity in other works of literature
However, it was narrowed to the poverty-stricken population, which showed the conservative view of whites, who thought of African Americans as belonging only to low-level communities who needed them . Since the opera’s premier, the aficionados have disagreed about its authenticity. We must use this incredible opportunity to transform the opera’s unfavorable historical interpretation, honor Gershwin’s purpose, and
In the dimly lit hours of Pittsburgh, August Wilson's play "Fences" tells the story of Troy Maxson and his family, depicting their struggles in the 1950s. The play offers a touching perspective on the African-American experience and societal issues that still resonate in America today. As we descend into the world of "Fences," we are compelled to address issues of race, family dynamics, and the pursuit of the American Dream, all of which continue to shape our nation's social fabric. By examining insights from Childish Gambino's thought-provoking music video "This Is America" and the Kanye West Interview, we can further unpack the relevance of "Fences" to today's world, providing a nuanced breakdown of its themes and their intersections with
Lyra D. Monterio wrote the essay “Race-conscious casting and the Erasure of the black past in Lin-Manuel Miranda's Hamilton” to address the racial history that was unfortunately left out of the musical “Hamilton”. The irony behind this is because of the actors of color who play the roles of founding fathers who were slave-owning, white men. This questions if the roles should have been played by nonpeople of color due to the way the play leaves out their racial history which was a key factor in many instances throughout our history. The question Monterio leaves us with “Is this the history that we want most brown and black youth to connect with, one in which black lives so clearly do not matter?”. Monterio questions whether Hamilton is a reliable
In a three day event, an ensemble cast of Dominican-American’s bring you inside their world in Washington Heights, New York. In the Heights is a musical about the economic struggle of just barely getting by each day on what little you make and yearning for more. The main characters Usnavi and Nina are admired by the entire town. Usnavi dreams of winning the lottery and moving to the Dominican, while Nina has gone to Stanford but realizes how hard it is to work and go to school.
In May 1992, Anna Deavere Smith was commissioned by the Mark Taper Forum in Los Angeles to create this one-woman performance that reflected the recent civil unrest (Smith, “Guide to Twilight” 4). According to the African American Review, “Anna Deavere Smith’s documentary theater helped earn for her a MacArthur Foundation genius award, an award that later followed on the heels of her winning an Obie Award and a Pulitzer Prize runner up in 1992 for Fires in the Mirror: Crown Heights, Brooklyn and Other Identities” (Brown-Guillory 372). Her work remains influential in American theater where “Twilight enlarges and redefines American theater experience in this unique first person portrait of the Los Angeles Riots of 1992” (Brown Guillory 372).
Recently, we watched a Broadway musical based film titled Hairspray directed by Adam Shankman, starring actors such as Nikki Blonsky, John Travolta, and Michelle Pfeiffer. This entertaining romantic comedy showcases a teenager by the name of Tracy Turnblad who tries to make a change about the ways of integration in Baltimore after securing a spot on a popular TV show in that city. The movie begins with the exposition, settling in the background of the film as Tracy is introduced as a high school student who is a fan of The Corny Collins Show where they feature teenagers dancing together. The show is primarily made up of white dancers only featuring African-Americans on what they call, “Negro Day.”
Musicals are not only great entertainment with catchy songs and elaborate dance numbers, but some also hold cultural significance and represent an important time in American history. New York City can be seen as a city of dreams and hope, but it can also be seen as the city of suffering and struggle. These characteristics are all evident in the Broadway musical RENT. Loosely based on the Giacomo Puccini’s opera “La Bohème,” playwright Jonathan Larson establishes cultural significance in this rock musical, alluding to the AIDS epidemic of the 1980s and 1990s, and the Bohemian culture that shaped NYC into the city it is today.
This movie is truly breaking barriers for Hollywood that have been in place for as long as L.A. has existed. It poses the question; does Hollywood’s representation match that of our society? Racial Diversity To start, let’s examine what the average
We cannot criminalize those who do not fit our preconceived notions of what an ideal individual looks, sounds, or acts like. In Ball State’s production of Parade, a devastating and shameful aspect of American history is bluntly revealed to us through heart-stopping musical numbers and sobering dialogue. The show communicates to the audience that we live in a world that pleads for our individuality, but will demonize that individualism once it is revealed. In Ball State’s rendition, this demonization is presented through contrasts in costuming that speculate isolation, lighting design that elevates physical stereotypes, and an actor’s mannerisms that suggest vulnerability. In the end it was clear that no one really knew this man for who he truly was, but for who they forced him to be seen
Professor of dance studies at the University of Buffalo, Ariel Nereson, claims that Hamilton is reminiscent of traditional Broadway in that he centers the story around the city of New York, a place well known for its Broadway scene. This is explicit in lyrics such as “In New York you can be a new man” in the opening song “Alexander Hamilton.” It also ties the idea of celebrating the importance of diversity with the time that Broadway became popular in New York, when the children of immigrants were “emerging as the city’s demographically and culturally dominant group” (Kasinitz, 3). Additionally, though there is much emphasis put on the use of modern sounds, the musical itself still follows the structure that most other Broadway musicals have always followed. The songs themselves have reprises later on in the show, a signature trait of classic musicals.
A closer assessment of the portrayal of black (African American) actors involved undoubtedly shows that they are regarded as second fiddle to other ethnicities in Rio 2. This is evidenced by the fact that they are all given less influential roles compared to others. On the other hand, Hispanics are portrayed as better than blacks but below the whites. This can be seen in the case of Rita Moreno, she has a better role and moreover her character is related to Jewel, one of the leading
Actors in Film rarely have control over what they were acting in many Hollywood movies, because actors have the least amount of creative input. Most actors play the role they are assigned, which the mostly white studio executives choose these assignments, and this makes it difficult to know whether or not actors have subverted their stereotypes. This is not just the case for Old Hollywood actor, since many actors today face the same obstacle. According to Latino Images in film, there is a “disappearing act” involved with the perception of actors. This “disappearing act” is how the actors’ decisions on their roles affect how they are seen, for example the actor disappears into the charter and the other way around.
