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Yo Soy Joaquin Analysis

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In addition to contributing to the barrio authenticity through mise-en-scène, murals serve as a counter-discursive visual narrative to underscore the underlying myths or discourses revealed in this analysis, especially issues of bilingualism and biculturalism which are at the core of Chicano identity. As Fregoso (1993) points out in her analysis of
Yo Soy Joaquin, Yo Soy Chicano, and Chicanas, murals have played a key role in both
Mexican and Chicano social and political movements and in film. Therefore, from a multimodal and genre perspective, the depiction of murals in the film is both an intertextual reference to previous films in which murals have figured prominently and a subtext about Mexicanidad and Chicano history reflecting social justice issues. …show more content…

Some of the key scenes in the film take place during three important cultural and family celebrations: the father’s birthday, the Mexican
Independence Day party, and Nora’s wedding to Edward. These celebrations bring together various aspects of mise-en-scène that are not usually seen in Hollywood films: the use of diegetic music, food preparation, clothing, and murals that demonstrate the film’s “meticulous attention to the actual cultural and social conditions of Chicano life and emphasis on ‘recuperating Chicano history in Chicano films (Keller, 1994, p. 209).
(Included in this meticulous attention to detail is when one of the workers Nora meets on the bus mentions her daughter’s quinceañera, another typical Mexican celebration.)
Other examples include the father’s birthday party with mariachi music and Mexican
Independence Day celebration where traditional indigenous clothing is worn and tamales are prepared and CS is used, and the wedding at the end in which the diversity of guests reflects the diversity of the barrio, a salsa band, and the mural. The cultural celebrations become the setting in which traditional Mexican foods and music and clothing are

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Women wearing colorful skirts and flowery hats also march in the parade to represent women who traveled with the army. This is followed by a reenactment of the battle that took place. There is smoke, shouting, and mock sword battles concluding with a Mexican victory. There are also traditional dances, games, traditional foods, mariachi music, and colorful decorations” (Borade, 2012, para. 3). There is a variety of foods during this celebration such as, “lamb barbacoa that has been smoked underground in banana leaves or carnitas topped with queso fresco, pickled onions and homemade salsa verde wrapped in a warm homemade corn tortilla that has been ever so lightly heated on a comal” (Esposito, 2013, para. 4).

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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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The exotification of Dolores del Rio is evident in an article published by a Photoplay issue in 1934, as she is described as possessing “golden skin, smooth as mellowed ivory and her dark, flashing eyes bespoke the lue of those maidenly ‘senoritas’ who peep at life from behind cloistered shutters… When the young man comes to call on a senorita in Mexico… he brings his guitar” (38). Through the exotification of Dolores del Rio, Hollywood found great success in the United States and in Latin America, one of the most profitable film markets in the cinematic industry. As a white-passing Latinx woman, del Rio was “more easily able to move in and out of ethnic roles” (33). Because Dolores del Rio was a Latinx woman that held “upper-class roles” and a Eurocentric standard of beauty while nonetheless, identifying with her Mexican heritage, she not only appealed to the white American public, but to Latin American audiences as well (Hershfield

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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

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The people who are known locally there, Jarochos, prep for their opening ceremony, Zocalo, where they have the burning of bad humor. This is also known as Quema Del Mal Humor. This allows for there to be singing and dancing of all who come. This is quite opposite as in St. Louis, on the twelfth Sunday in January, their board of directors vote on whether or not they will have this celebration for that year. Yet, they both similarly crown royalty at this point: a queen in Mexico and a Mardi Gras Rex(king) in Missouri.

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