ACKNOWLEDGMENTS

Chapters in this book

1. Frontmatter i
2. CONTENTS vii
3. ACKNOWLEDGMENTS xi
4. INTRODUCTION 1
5. PART ONE THEORY
6. ONE. CATEGORIZING THE OTHER Stereotypes and Stereotyping 13
7. TWO. STEREOTYPES IN FILM 38
8. THREE. A CRASH COURSE ON HOLLYWOOD’S LATINO IMAGERY 66
9. FOUR. SUBVERSIVE ACTS Latino Actor Case Studies 87
10. PART TWO THE HOLLYWOOD VERSION Latino Representation in Mainstream Cinema
11. FIVE. BORDERTOWN, THE ASSIMIL ATION NARRATIVE, AND THE CHICANO SOCIAL PROBLEM FILM 111
12. SIX. THE MARGIN AS CENTER The Multicultural Dynamics of John Ford’s Westerns 128
13. SEVEN. IMMIGRANTS, ALIENS, AND EXTRATERRESTRIALS Science Fiction’s Alien “Other” as (among Other Things) New Hispanic Imagery 153
14. PART THREE LATINO SELF-REPRESENTATION
15. BACKSTORY CHICANO AND LATINO FILMMAKERS BEHIND THE CAMERA 185
16. EIGHT. EL GENIO DEL GÉNERO Mexican American Borderland Documentaries and Postmodernism 190
17. NINE. ETHNIC INGENUITY AND MAINSTREAM CINEMA Robert Rodríguez’s Bedhead (1990) and El Mariachi (1993) 219
18. TEN. THE MARIACHI AESTHETIC GOES TO HOLLYWOOD An Interview with Robert Rodríguez 240
19. CONCLUSION: THE END OF STEREOTYPES? 262
20. NOTES 273
21. INDEX 305