By Camilla Fojas
The southern frontier is likely one of the such a lot emotionally charged zones within the usa, moment merely to its old predecessor and companion, the western frontier. although they span many genres, border motion pictures proportion universal subject matters, hint the temper swings of public coverage, and form our cultural time table. during this exam, Camilla Fojas reports how significant Hollywood motion pictures take advantage of the border among Mexico and the USA to inform a narrative approximately U.S. dominance within the American hemisphere. She charts the shift from the mythos of the open western frontier to that of the embattled southern frontier via supplying in-depth analyses of specific border movies, from post-World conflict II Westerns to drug-trafficking movies to modern Latino/a cinema, inside their ancient and political contexts.Fojas argues that Hollywood border movies do vital social paintings through providing a cinematic area during which audience can deal with irritating and bad histories and eventually reaffirm center 'American' values. even as, those border narratives delineate opposing values and concepts. Latino border movies provide a serious vantage onto those subject matters; they problem the presumptions of U.S. nationalism and next cultural attitudes approximately immigrants and immigration, and sometimes severely reconstruct their Hollywood family members. via interpreting movies equivalent to "Duel within the Sun", "The Wild Bunch", "El Norte", "The Border", "Traffic", and "Brokeback Mountain", Fojas calls for that we re-evaluate the strong mythology of the Hollywood borderlands. This particular scrutiny acknowledges that those motion pictures are a part of a countrywide narrative constructed from many texts and logos that create the parable of the USA as capital of the Americas.
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Extra resources for Border Bandits: Hollywood on the Southern Frontier (Film and Media Studies: Border Studies, Latin American Studies, Chicano A Studies)
Most of these ﬁlms and shows feature the heroic mission of the DEA, FBI, and undercover cops in the capture of Latin/o American drug trafﬁckers. S. market. S. economy, all of which was followed by massive northbound immigration. S. S. popular culture. These conditions created a new wave of high risk Hollywood ﬁlm and television border media that are dramatic, fast-paced, and full of glamour. S. , taking jobs and women from Anglo men. From the 1990s into the present moment, the war on drugs has dovetailed with the low intensity war on the border and, more recently, with the war on terrorism as multiple fronts of the same offensive.
The title Duel in the Sun refers to a fated scene of double loss, in which a duel leads to the tragic death of the protagonists. This tragic scene affects us with a sense of being “too late”: of knowing the fate of the lovers, as foreshadowed by the history of Pearl, and yet not being able to do anything to forestall it. We arrive late to the scene; we failed to heed the warning clearly forecast by the original scene of miscegenation at the border. Duel in the Sun is the ﬁlm that inspired Laura Mulvey to build upon her schema regarding the “masculinization” of the spectator in Hollywood ﬁlm.
S. S. identity. Hollywood has always been at the center of the performance of the Indian and constitutes one of the largest archives of demeaning stereotypes that serve white mastery. 16 It is not surprising that Pearl embodies all three stereotypes at once and thus represents a social menace who must meet her demise. These stereotypes still resounded after World War II, when there was considerable public concern about the political fate of Native Americans regarding their potential for either assimilation or self-governance.