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La Bamba Film Analysis

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Film allows individuals’ stories and struggles to come alive to the rest of the world. The recent coverage of Luis Valdez receiving one of the White House’s 2015 National Medal of Arts demonstrates the growing advancement of Chicano culture in the United States. Valdez founded El Teatro Campesino in 1965 to display the lifestyles and hardships of migrant farm workers, which included his own family. He also created the famous, yet still relevant, movie La Bamba in 1987 (Wildman, 2016). This movie tells the story of Richie Valens. Valens was the first Mexican-American, rock-n-roll artist accepted in United States culture, even though his greatest hit was in Spanish. Through La Bamba, Valdez made Valen’s contribution to mainstream culture more
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During the Chicano Nationalist Movement, a well-known speaker, Rodolfo ‘Corky’ Gonzales, delivered a speech titled Chicano Nationalism: Victory for La Raza. In this speech, Rodolfo Gonzales tries to unify the Latin American people within the United States by using the idea of a family and to create a new political organization for the Chicano people. This speech was a cumulation of various ideas which stemmed from his own life, the experiences of the Chicano people, and the Chicano Nationalist Movement in general. Each of these factors contributed to the context of the speech and how the ideas within the speech are presented by Rodolfo Gonzales.     Rodolfo ‘Corky’ Gonzales was born to Federico and Indalesia Gonzales, two Mexican immigrants, on June 18, 1928.

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Released September 29, 1950, Sunset Boulevard is a film noir of a forgotten silent film star, Norma Desmond, that dreams of a comeback and an unsuccessful screenwriter, Joe Gillis, working together. Ultimately an uncomfortable relationship evolves between Norma and Joe that Joe does not want a part of. Sunset Boulevard starts off with an establishing shot from a high angle shot with a narrative leading to a crime scene shot in long shot (a dead body is found floating in a pool). The narrative throughout the film established a formalist film. Cinematography John F. Seitz used lighting and camera angles in such a way to create a loneliness and hopefulness atmosphere.

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In the altar’s center is “a plaster image of the Virgin of Guadalupe, quarter-life size, its brown Indian face staring down on the woman” (Paredes 23). The implication of the stare is of criticism as the Virgin, symbolic of an ideal Mexican womanhood, looks down on Marcela, whose Anglo features starkly contrast with the Virgin’s, and whose actions are in opposition to the values that she represents. This carefully constructed scene is meaningful. Marcela’s lifeless body lies between the bed and the altar, and opposite to the altar is Marcela’s shrine dedicated to Hollywood movie stars. These are the visual images of the opposing forces that characterize the Mexican-American struggle for resistance against American cultural hegemony.

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“Oranges,” “The Seventieth Year,” and “Avocado Lake,” showcase Soto’s ability to move a reader using an emotional story without the use of rhyme or rhythm. Through Soto’s poetry, he indicates the traits that define Mexican-American community

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In the story of “Aria”, by Richard Rodriguez, being Mexican American was a challenge for him in which he struggled with having two identities. Since he spoke Spanish in an American society,

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In the 1960’s, the United States went through a period of clarity and diversity in thought, analysis and action for people from Mexico or those who practiced the Mexican culture. Issues of deep resonance and problems both Mexican and American communities faced were brought to light through different platforms that include multiple socio-political mobilizations, art, and music all throughout the country (Cockcroft, 1993). This later ensued into battles of cultural reclamation and self-determination that combined into a national consciousness called the Chicano Movement. The Chicano Art Movement represents the attempts made by Mexican-American artists in establishing a unique artistic identity in the United States. Most of the Chicanos belonged

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From our previous film showing, High Noon, we got a taste of how the Western genre portrayed Chicano/a characters. The late 1970’s saw a decline of the western, and “with the decline of the filmic western came the rise of the urban violence film” (Cortés 134). The 1980’s and 90’s saw film after film released portraying gang violence, and the Latino gang film was a “natural crossroads for sex, violence, and ethnicity” (Cortés 135). Some see these Latino gang members “as updated, modern variants of the Mexican bandit type” (Treviño). 1993 brought us the film Mi Vida Loca, which shows us the life of teenage Chicano/a gang members living in Echo Park, focused on the character known as Sad Girl.

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The third issue we found out from “Serpico” is corruption. In the movie, police officer Frank Serpico exposed corruption in the New York City police department. He was the first officer to testify against another officer. Corruption is the dishonest behavior and wrong doing on the part of an authority or powerful party through means that are illegitimate, immoral, and incompatible with ethical standards. Corruption are include giving or accepting bribes or inappropriate presents, double dealing, under-the-table transactions, manipulating elections, diverting funds, laundering money and defrauding investors.

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I chose the movie Cesar Chavez because is about an labor organizer and activist man of the civil rights. Scene ---In 1965 many grape farm workers march 300 miles from Delano, California to Sacramento. Demanding labor rights for farm workers and increasing their wages and to improve their work place conditions. Mexicans and Philippine’s got united and they strike for five years until they got to sing a contract were The scene that I choose is when growers were telling the workers in the vine yards that anyone that follow the strike will stop working there and they were not going to be higher from anybody else and workers were really afraid to strike against the growers.

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Mise-en-scéne is crucial to classical Hollywood as it defined an era ‘that in its primary sense and effect, shows us something; it is a means of display. ' (Martin 2014, p.XV). Billy Wilder 's Sunset Boulevard (Wilder 1950) will be analysed and explored with its techniques and styles of mise-en-scéne and how this aspect of filmmaking establishes together as a cohesive whole with the narrative themes as classical Hollywood storytelling. Features of the film 's sense of space and time, setting, motifs, characters, and character goals will be explored and how they affect the characterisation, structure, and three-act organisation.

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As a Chicana, I am grateful that Puente introduced us to this type of material. Assisting us to further our comprehension of the subject and ourselves. Being a Chicana is a person who despite being a minority and lack of privileges they have the strongest passion to succeed. Where material like “Borderlands” is what stimulated my appreciation of different

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Cinematography is critical to the success of any movie. Cinematography uses composition, lighting, depth of field, and camera angles to determine what the audience sees. Casablanca’s cinematography directs the audience’s attention, shapes the audiences feelings, and reveals the theme of the movie. Cinematography directs the audience’s attention and acts as the viewer’s eyes. The cinematography highlights Casablanca as a dangerous place filled with deception.

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In Los Vendidos, Valdez uses humor to show how Mexicans have become stereotyped in certain categories. In the play there are four different models that have their own identities within the Mexican race and each identity stands for a stereotype society generally holds of Mexicans. Valdez wants the reader to analyze and comprehend the prejudices they may very well hold against the race. By reading this play people may realize how Latinos feel and how society treats them.

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Albert Einstein once said, “I believe the most important mission of the state is to protect the individual and make it possible for him to develop into a creative personality.” This quote is truly applicable to the short film “La Luna”. Throughout “La Luna,” a young boy named Bambino experiences many difficulties and arguments with his father, Papȧ, and his grandfather, Nonno. Bambino is coaxed into following alongside his father and grandfather’s footsteps-- sweeping away the stars. However, towards the end of the film, Bambino becomes confident with himself by taking risks and developing as his own person.

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