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What are ""Latin looks""? A Latin look may seem at first blush to be something that everyone recognizes-brunette, sensual, expressive, animated, perhaps threatening. But upon reflection, we realize that these are the images that are prevalent in the media, while the reality in Latino communities is of a rich diversity of people and images. This book brings together a selection of the best, the most interesting, and the most analytically sophisticated writing on how Latinos have been portrayed in movies, television, and other media since the early years of the twentieth century and how ima

Latinos are the fastest growing population group in the United States.Through their language and popular music Latinos are making their mark on American culture as never before. As the United States becomes Latinized, how will Latinos fit into America's divided racial landscape and how will they define their own racial and ethnic identity? Through strikingly original historical analysis, extensive personal interviews and a careful examination of census data, Clara E. Rodriguez shows that Latino identity is surprisingly fluid, situation-dependent, and constantly changing. She illustrates how the way Latinos are defining themselves, and refusing to define themselves, represents a powerful challenge to America's system of racial classification and American racism

This article focuses on Dolores del Río and Lupe Vélez, contextualing their film careers in relation to their reception by their audiences. It focuses on how, despite their generally opposite media representations and personas, they had much in common because they functioned within very similar politic-economic contexts. Contributing to their commonalities was the film industry"s role in casting and representing them in a manner that reflected the hyper-sexuality attributed to Latinas, but in a "palatable" -for the times- way. Despite different career paths, both were personally involved in transnational circuits, confronted issues of work autonomy, accomodation, resistance, control, and were pressured to play to Hollywood stereotypes and to "represent" their communities. The author"s analysis is based on an examination of primary materials dating from 1924 to 1934, and relevant period and contemporary readings and web sources. The article underlines the relevance of their lives to contemporary Latina/o actors. ; Este artículo se enfoca en Dolores del Río y Lupe Vélez. Sus carreras se contextualizan en relación con la recepción que tuvieron sus audiencias. El texto se centra en cómo, a pesar de las representaciones opuestas que sobre ellas presentaron los medios y se formaban las personas, ambas tenían mucho en común, puesto que funcionaron en contextos económicos y políticos muy similares. La industria del cine contribuyó a estos aspectos en común al ponerlas en papeles que reflejaban la hipersexualidad atribuida a las latinas, aunque de manera agradable, congruente con la época. A pesar de sus diferentes trayectorias, ambas se involucraron en circuitos transnacionales, confrontaron asuntos de autonomía laboral, cláusulas contractales, resistencia y control, y a las dos las presionaron para que representaran los estereotipos de Hollywood acerca de sus "comunidades". El análisis del autor se basa en el examen de materiales de primera mano que datan entre 1924 y 1934, así como en lecturas relevantes de esa época ...

AbstractThis review focuses on how Latinos report their race. This is an area that has recently experienced a major surge of interest in both government and academic circles. This review of the literature examines how and why Latinos report their race on the census, in surveys and in more qualitative studies. It reviews the vibrant and growing scholarly literature relevant to the questions of the placement – by self or others – of Latinos along the US color line, what determines it and how the Census has coped and is coping with it. We begin with a brief review of the history of Latino classification in the census and then discuss the factors influencing racial reporting. These include national origin and skin color, acculturation and generational status, socioeconomic status, perceived discrimination and identification with others who have experienced actual discrimination, location, and question format. We end with a discussion of the implications of the recent 2010 Alternative Questionnaire Experiment conducted by the census, and conclude with suggestions for future research.

Frontmatter -- Contents -- Introduction: Embodying Latinidad: An Overview -- Section One. Case Studies: Silent and Classic Film Era -- 1. Film Viewing in Latino Communities, 1896–1934: Puerto Rico as Microcosm -- 2. Lupe Vélez: Queen of the B's -- 3. Lupe Vélez Regurgitated: Cautionary, Indigestion-Causing Ruminations on "Mexicans" in "American" Toilets Perpetrated While Covetously Screening "Veronica" -- Section Two. Performing Bodies: Contemporary Film and Music Media -- 4. Celia's Shoes -- 5. Salma Hayek's Frida: Transnational Latina Bodies in Popular Culture -- 6. Is Penélope to J.Lo as Culture Is to Nature? Eurocentric Approaches to "Latin" Beauties -- 7. Jennifer Lopez: The New Wave of Border Crossing -- 8. "There's My Territory": Shakira Crossing Over -- 9. "Hey, Killer": The Construction of a Macho Latina, or the Perils and Enticements of Girlfight -- Section Three . Sensational Bodies: Discourses of Latina Femininity -- 10. On the Semiotics of Lorena Bobbit -- 11. Disorderly Bodies and Discourses of Latinidad in the Elián González Story -- 12. The Body in Question: The Latina Detective in the Lupe Solano Mystery Series -- 13. La Princesa Plástica: Hegemonic and Oppositional Representations of Latinidad in Hispanic Barbie -- 14. Chusmas, Chismes, y Escándalos: Latinas Talk Back to El Show de Cristina and Laura en América -- Contributors -- Index