Relevant bibliographies by topics / Mexican Americans in popular culture

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Mexican Americans in popular culture'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Mexican Americans in popular culture"

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Martinez, Theresa A. "Popular Culture as Oppositional Culture: Rap as Resistance." Sociological Perspectives 40, no. 2 (June 1997): 265–86. http://dx.doi.org/10.2307/1389525.

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Bonnie Mitchell and Joe Feagin (1995) build on the theory of oppositional culture, arguing that African Americans, American Indians, and Mexican Americans draw on their own cultural resources to resist oppression under internal colonialism. In this paper, rap music is identified as an important African American popular cultural form that also emerges as a form of oppositional culture. A brief analysis of the lyrics of political and gangsta rappers of the late 1980s and early 1990s, provides key themes of distrust, anger, resistance, and critique of a perceived racist and discriminatory society. Rap music is discussed as music with a message of resistance, empowerment, and social critique, and as a herald of the Los Angeles riots of 1992.
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RUIZ, JASON. "Desire among the Ruins: The Politics of Difference in American Visions of Porfirian Mexico." Journal of American Studies 46, no. 4 (November 2012): 919–40. http://dx.doi.org/10.1017/s0021875812001351.

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Travel to Mexico became instantly faster, smoother, and cheaper for Americans when workers finally linked US and Mexican rail lines in 1884. Following the opening of the international rail connection, Americans went south of the border in droves and produced a wide array of representations depicting Mexico under the dictatorship of Porfirio Díaz (1876–1911, a period known as the “Porfiriato”). Travelogues, picture postcards, stereographs, and magic-lantern slides with Mexican themes all circulated heavily in US popular culture during this time. This essay examines the politics of difference in these representations – chiefly travel writing and postcards – arguing that travelers and other observers played a crucial but overlooked role in popularizing the view of Mexico as a logical field for capitalist (and sometimes territorial) expansionism. By positioning Mexican bodies as both desirable and dangerous, I argue, the creators of travel discourse set the stage for contradictory and ambivalent views of Mexico that reverberate in the United States even today.
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Scheianu, Marius Adrian. "“The Good Neighbor’’ Policy and the Beginnings of Its Use in the Cinema of the ’30." Acta Marisiensis. Seria Historia 3, no. 1 (December 1, 2021): 55–68. http://dx.doi.org/10.2478/amsh-2021-0006.

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Abstract Cinema, the youngest of the arts, has been energetic and has quickly gained public attention and became soon, after its appearance in the last years of the 19th century, the most popular of the arts, introducing the audiences to images of the world around them. From the first years of the 20th century silent films with plots came into vogue, substituting the documentary style of filming presented to the viewers. In the United States of America, many of these films introduced American viewers to their nearby Mexican neighbors. Usually, the Mexican image, in film, was dominated by stereotypes deeply rooted in American culture. This habit of portraying the Mexicans as bandits or as displaying every vice that could be shown on the screen, by the American film industry began to change by the middle of the 1930s. One of the reasons for this change is the new approach to the foreign policy implemented by the administration of US President Roosevelt, against the background of overcoming challenges caused by The Great Depression. The first beneficiary of this benevolent attitude towards Latin America, was US’s closest neighbor, Mexico. Two American movies are relevant, during this period, for illustrating this policy in cinematography: Viva Villa (1934) and Juarez (1939). The two movies deal with aspects of Mexican history in a different way than in the past, the use of Mexico and Mexican history as a background for political comments on contemporary events, also demonstrating the role that the film industry has played as a vessel for carrying various messages from the political authorities to the public.
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Marta Marini, Anna. "The Hybridization Of The Noir Genre As Expression Of Ethnic Heritage: Rafael Navarro’s Sonambulo." Revista de Estudios Norteamericanos, no. 25 (2021): 137–61. http://dx.doi.org/10.12795/ren.2021.i25.07.

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In his ongoing comic book series Sonambulo, versatile artist Rafael Navarro has been able to channel his Mexican American cultural heritage by creating a unique blend of narrative genres. In his work, Navarro exploits classic American film noir as a fundamental reference and hybridizes it with elements distinctive to a shared Chicanx heritage, such as lucha libre cinema, horror folktales, and border-crossing metaphors; the construction of an oneiric dimension helps bring the narrative together, marking it with a peculiar ambiance. Drawing heavily on a diverse range of film genres, as well as ethnocultural pivots, this comic book series carves out a definite space in the panorama of the Mexican American production of popular culture, adding a powerful voice to the expression of US ethnic minorities.
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Marini, Anna Marta, and Enrique Ajuria Ibarra. "Gothic and the Ethnic Other: An Interview with Enrique Ajuria Ibarra." REDEN. Revista Española de Estudios Norteamericanos 3, no. 2 (May 15, 2022): 175–89. http://dx.doi.org/10.37536/reden.2022.3.1833.

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Enrique Ajuria Ibarra is a senior assistant professor and director of the PhD program in Creation and Culture Theory at the Universidad De Las Americas Puebla (Mexico) where he teaches courses on film, media, cultural studies, and literary theory. He specializes in visual culture, cinema studies, gothic and horror. He's the editor of the online journal Studies in Gothic Fiction published by the Cardiff University Press and he has published extensively on topics related to the Gothic, in particular focusing on transnational aspects and the Mexican context. Among his most recent publications there have been chapters in volumes such as 21st Century Gothic: An Edinburgh Companion (2019), Gothic Afterlives: Reincarnation of Horror in Film and Popular Media (2019), and Doubles and Hybrids in Latin American Gothic (2020).
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Gough, P. L. "Macias, Mexican-American Mojo: Popular Music, Dance, and Urban Culture in Los Angeles, 1935-1968." Oral History Review 38, no. 1 (February 15, 2011): 218–20. http://dx.doi.org/10.1093/ohr/ohr032.

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Nguyen, Shelbee, and Joellen E. Coryell. "Flipping the Script in Study Abroad Participation: The Influence of Popular Culture and Social Networks." Journal of International Students 5, no. 1 (January 1, 2015): 23–37. http://dx.doi.org/10.32674/jis.v5i1.440.

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This study explores primary perceptions of and motivations to study abroad for adult and higher education learners. A large Hispanic-serving Southwestern university serves as the context of this study where undergraduate students and one graduate student were enrolled in an Italian urbanism study abroad program. The age of the participants ranged from 20 to 47, with six males and 11 females (N = 17) for an average age of 25. Participants self-identified as Caucasian (35%), Asian (6%), Latino/a (24%), Middle-Eastern (6%), and Mexican-American (52) %. Semi-structured interviews assessed formative and influential messages impacting perceptions of and motivations to study abroad. Findings lend special importance to popular culture, peer networks within and outside the institution and socially constructed meaning made about study abroad. Limitations of this study are highlighted, along with implications and directions for future research.
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Bonilla, Mauricio Hernandez. "Reproducing Tradition: Everyday Public Space in Popular Neighbourhoods in Mexico." Open House International 31, no. 4 (December 1, 2006): 49–57. http://dx.doi.org/10.1108/ohi-04-2006-b0007.

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In Latin American cities a great part of the urban environment has grown through self-help processes leading to informal settlements. In the Mexican context, informal settlements are called “colonias populares” which means people’s or popular neighbourhoods. In the late 1960s Turner (1969) argued that popular neighbourhoods should be reconsidered as environments which are socially and culturally responsive to the needs of the inhabitants, as the architecture produced by low-income settlers is based on a system responsive to the changing needs and demands of the users. In these settlements the built environment is the result of the freedom available to inhabitants to take decisions and shape their own environment. This in turn gives place to a myriad of spatial expressions in which culture, identity and popular character are imprinted in both the private and public spaces. This paper explores these issues in the spaces between the dwellings in the public realm.
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Godina, Heriberto, and Cynthia Soto-Ramirez. "Emergent Gender Roles Within Tween Popular Culture: Perspectives From Mexican American Students in a Fifth-Grade Classroom." Journal of Latinos and Education 16, no. 2 (April 3, 2017): 98–109. http://dx.doi.org/10.1080/15348431.2016.1205990.

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Gutiérrez, Itzayana. "Remediating Kalimán: Digital Evolutions of Eugenic Agents." Asian Diasporic Visual Cultures and the Americas 5, no. 1-2 (April 11, 2019): 57–78. http://dx.doi.org/10.1163/23523085-00501004.

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Kalimán is a Mexican superhero that has circulated Orientalist eugenic values for over fifty years across Latin America. Although Indian, and wearing traditional Indian subcontinental clothing, distinguishable only by a jewel-encased “K” on his turban, Kalimán is a muscular, blue-eyed, and white character. He was created in 1963 as the main protagonist of a radio series that spawned a comic magazine in 1965, two films in 1972 and 1976, and animations and video games in the early 2010s, in a massive process of remediation that has guaranteed a solid mark in the cultural patrimony of the Americas. Since Kalimán incarnates impulses of punishment and desire over racially contaminated brown and black characters, his undisturbed, easy-to-access, and enduring presence provides evidence of deeply ingrained anti-Asian violence in Latin American popular culture, as well as the urge to develop a critical look at graphic violence traditions which continue to be treasured.
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Dissertations / Theses on the topic "Mexican Americans in popular culture"

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Wegner, Kyle David. "Children of Aztlán : Mexican American popular culture and the post-Chicano aesthetic /." Connect to online resource, 2006. http://proquest.umi.com/pqdweb?did=1147180781&sid=1&Fmt=2&clientId=39334&RQT=309&VName=PQD.

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Goldberger, Stephanie. "Mexican-Americans in Los Angeles: Strengthening Their Ethnic Identity Through Chivas USA." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/cmc_theses/307.

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A large Mexican-American population already exists in Los Angeles and, with each generation, it continues to rise. This Mexican-American community has maintained its connection to its heritage by playing and watching soccer, Mexico’s top watched sport. In this thesis, I analyze how Major League Soccer's Chivas USA serves as an outlet through which many Mexicans in Los Angeles have developed their ethnic identities. Since the early twentieth century, Mexicans in Los Angeles have created separate residential communities and sports organizations to strengthen their connections with one another. To appeal to Mexican-Americans, Chivas USA has branded itself closely to its sister team Chivas Guadalajara of Mexico. I explore how Chivas USA's Mexican-American fans have responded to the team's arrival in Los Angeles by forming three different supporter groups — Legion 1908, Union Ultras, and Black Army 1850. By interviewing members of the Union Ultras and Black Army 1850, I learned their beliefs towards a range of issues, including: why they support Chivas USA rather than the Los Angeles Galaxy and how they view the poor representation of Mexican-American players on the United States National Soccer Team. As I conclude, these supporter groups have increased in number and diversity as Chivas USA has grown in popularity. To increase its Mexican-American fan base and to sustain professional soccer in Los Angeles, Chivas USA should relocate to a new stadium for the Major League Soccer's 2013 season and consider rebranding its name to "Chivas Los Angeles."
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Nuñez, Gabriela. "Investigating La Frontera : transnational space in contemporary Chicana/o and Mexican detective fiction /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2007. http://wwwlib.umi.com/cr/ucsd/fullcit?p3286241.

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Kiddle, Amelia Marie. "La Poli­tica del Buen Amigo: Mexican-Latin American Relations during the Presidency of Lazaro Cardenas, 1934-1940." Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/193655.

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Lazaro Cardenas (1934-1940) did more than any other president to fulfill the goals of the Mexican Revolution of 1910, by nationalizing the oil industry, establishing rural schools, distributing an unprecedented amount of land to peasants, and encouraging the organization of workers. To gain international support for this domestic reform programme, the Cardenas government promoted these accomplishments to other Latin American nations. I argue that Cardenas attempted to attain a leadership position in inter-American relations by virtue of his pursuit of social and economic justice in domestic and foreign policy. I investigate the Cardenas government's projection of a Revolutionary image of Mexico and evaluate its reception in Latin America. In doing so, this dissertation expands the analysis of foreign policy to show that Mexico's relations with its Latin American neighbours were instrumental in shaping its foreign relations. I argue that the intersections between culture and diplomacy were central to this process.
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Thibodeau, Anthony. "Anti-colonial Resistance and Indigenous Identity in North American Heavy Metal." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1395606419.

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Elkin, Courtney Carmel. "Clashes of cultural memory in popular festival performance in Southern California 1910s-present /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1495960481&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Albarran, Louis. "The Face of God at the End of the Road: The Sacramentality of Jack Kerouac in Lowell, America, and Mexico." University of Dayton / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1375235381.

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Ramirez, Genaro Zalpa. "The imaginary world of Mexican comics." Thesis, University of York, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.288065.

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García, Peter J. "La Onda Nuevo Mexicana multi-sited ethnography, ritual contexts, and popular traditional musics in New Mexico /." Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3031600.

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Baltazar, Sofia Yolanda. "The integration of Mexican culture in the development of Mexican student literacy." CSUSB ScholarWorks, 1994. https://scholarworks.lib.csusb.edu/etd-project/884.

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Books on the topic "Mexican Americans in popular culture"

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Urquijo-Ruiz, Rita. Wild tongues: Transnational Mexican popular culture. Austin: University of Texas Press, 2012.

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Pérez, Daniel Enrique. Rethinking Chicana/o and Latina/o popular culture. New York: Palgrave Macmillan, 2009.

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Pérez, Daniel Enrique. Rethinking Chicana/o and Latina/o popular culture. New York: Palgrave Macmillan, 2009.

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Perez, Domino Renee. There was a woman: La Llorona from folklore to popular culture. Austin: University of Texas Press, 2008.

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Peña, Manuel H. The Mexican American orquesta: Music, culture, and the dialectic of conflict. Austin: University of Texas Press, 1999.

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Rosa, García-Acevedo María, Maciel David, and Herrera-Sobek María, eds. Cultura al otro lado de la frontera: Inmigración mexicana y cultura popular. México: Siglo Veintiuno editores, 1999.

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Gaspar de Alba, Alicia, 1958-, ed. Velvet barrios: Popular culture & Chicana/o sexualities. New York: Palgrave Macmillan, 2003.

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Jack, Parsons. Low 'n slow: Lowriding in New Mexico. Santa Fe: Museum of New Mexico Press, 1999.

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Hernandez, Robb. The fire of life: The Robert Legorreta-Cyclona collection. Los Angeles: UCLA Chicano Studies Research Center Press, 2009.

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Hernandez, Robb. The fire of life: The Robert Legorreta-Cyclona collection, 1962-2002. Los Angeles: UCLA Chicano Studies Research Center Press, 2008.

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Book chapters on the topic "Mexican Americans in popular culture"

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Johnson, Anne Warren. "Mexican Mars: Narrating Spatial Futures from the Margins." In Outer Space and Popular Culture, 1–15. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-25340-9_1.

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Mathers, Kathryn. "Traveling Images and How Americans Learned to Care for Africa." In White Saviorism and Popular Culture, 15–41. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003223818-2.

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Gabara, Esther. "Modernist Ethics: Really Engaging Popular Culture in Mexico and Brazil." In The Ethics of Latin American Literary Criticism, 63–102. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230607385_5.

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Deroze, Phyllisa Smith. "Laughing to Keep from Dying: Black Americans with Diabetes in Sitcoms and Comedies." In Palgrave Studies in Science and Popular Culture, 107–21. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-83110-3_6.

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Ibarra, Enrique Ajuria. "Ghosting the Nation: La Llorona, Popular Culture, and the Spectral Anxiety of Mexican Identity." In The Gothic and the Everyday, 131–51. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137406644_8.

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Avila, Jacqueline. "‘No Hay Nada Que Celebrar’: Music, Migration, and Violence in Luis Estrada’s El Infierno (2010)." In When Music Takes Over in Film, 181–99. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-89155-8_10.

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AbstractDramatic interpretations of the drug war in Latin America have within recent years increased in number, particularly with television shows such as the Netflix original series Narcos (2015) and Telemundo’s telenovela La reina del sur (2011). During this decade, one of the more significant cinematic contributions is Luis Estrada’s 2010 film El Infierno, which premiered in a sea of controversy. The film follows the protagonist Benny as he transitions from a recently deported undocumented immigrant to a narco-assassin in northern Mexico. To amplify this transition, El Infierno utilises narcocorridos and música norteña, which are aural signifiers for narcocinema, and border culture. This music highlights Benny’s transformation and accompanies explicit scenes of violence, some examples ripped from the headlines from Mexico’s popular press. These musical moments provide a deeply embedded cultural association to the violence and function as a form of desensitisation as Benny witnesses the cartel’s power spin out of control. I analyse two musical moments that emulate Benny’s experiences, first as a deportee then as an assassin, reinforcing his transition from one forced identity to another while also supplying a darkly satirical yet critical commentary on the harsh realities of Mexico’s drug war.
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Page, Joanna. "1. Bestiaries and the Art of Cryptozoology." In Decolonial Ecologies, 25–62. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0339.01.

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Many twentieth-century Latin American writers – including Jorge Luis Borges, Silvina Ocampo, Juan José Arreola and Wilson Bueno – experimented with the form of the bestiary, adapting it to the fantastic genre or for the purposes of satire. This chapter focuses on the work of more contemporary writers and artists who draw on the themes and forms of the medieval bestiary in order to revitalize pre-Hispanic legends, to construct an alternative modernity that embraces plural ontologies, and to explore the changing relationship between humans and animals in the Anthropocene. The act of (re)imagining extinct and mythical animals takes on a particular poignancy in the context of the current rapid decline in biodiversity across the world. Indeed, as I argue throughout this chapter, the mediaeval bestiary acquires a new relevance in the context of the ecological and existential crisis that pervades the technologically developed, urbanized, globalized world. It offers alternative ways of thinking and imagining the world that have been excised from the modern, rationalist, Western standpoint, challenging ideas about human exceptionalism and promoting a view of the universe as intimately interconnected within relationships of reciprocity. At the hands of contemporary writers and artists such as Rafael Toriz and Edgar Cano (Mexico), Claudio Romo (Chile) and Walmor Corrêa (Brazil), Latin American bestiaries of the twenty-first century contest dominant images of a depleted, exhausted, fragile natural world, responding to the need to re-enchant nature in the face of its rationalization and commodification in Western modernity, to revalorize indigenous and popular approaches, and to reconnect animals with human social, cultural, and spiritual lives.
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Gruesz, Kirsten Silva. "Mexican / American." In The Oxford History of Popular Print Culture, 457–76. Oxford University Press, 2011. http://dx.doi.org/10.1093/acprof:osobl/9780199234066.003.0023.

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Blanco, María del Pilar. "Nation as Laboratory." In Geopolitics, Culture, and the Scientific Imaginary in Latin America, 62–77. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9781683401483.003.0003.

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This chapter offers a new reading of popular science publications from the period of the República Restaurada (1868–76) in Mexico, namely José Joaquín Arriaga’s La Ciencia Recreativa (1871–74), a set of science primers for children and articles from Santiago Sierra’s popular-science magazine, El Mundo Científico (1877–78). Situating these publications within this period of political, cultural, and social stabilization, Blanco explores the uses of popular science writing as modes for perceiving the Mexican landscape in the throes of modernization. Employing Bruno Latour and Steve Woolgar’s concept of the laboratory as a space of and for inscription, Blanco argues that these Mexican science writers in effect conceived the nation’s landscape as a kind of open laboratory in which natural phenomena were continuously recorded and measured. These inscriptions, in turn, were a way of integrating the Mexican nation into the practices of global science in the late nineteenth century.
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Nericcio, William A. "12 A Decidedly “Mexican” and “American” Semi[er]otic Transference: Frida Kahlo in the Eyes of Gilbert Hernandez." In Latino/a Popular Culture, 190–207. New York University Press, 2022. http://dx.doi.org/10.18574/nyu/9780814790816.003.0016.

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Conference papers on the topic "Mexican Americans in popular culture"

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Hernández Espino, Ana. "CULTURAL TRANSLATION BEYOND AN INTERDISCIPLINARY EXIT, A MEETING OF KNOWLEDGE." In International Conference on Education and New Developments. inScience Press, 2021. http://dx.doi.org/10.36315/2021end008.

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In a context of intercultural conflicts, of exclusive educational policies, it is necessary to create inclusive perspectives, enabling coexistence between different cultures. A Latin American educational framework rooted in neoliberal policies restricts creative gazes. Two doctoral researches carried out with a perspective of Popular Education, one in Mexico, Costa Rica, Argentina and Uruguay and another on a specific experience in Uruguay show the potential of the emancipatory component. His socio-historical analyzes link the educational proposals with the historical evolution of their problems in relation to their contexts. Cultural translation is presented as one of the potentialities, where weighted popular knowledge is rescued by groups. Some socio-community referents have skills to know, understand and translate the demands. A training obtained from the analysis of the experience and knowledge of the groups stimulates decolonization processes.
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Livingstone, David. "Breaking Blackface: African Americans, Stereotypes, and Country Music." In 10th Annual Conference of the Croatian Association for American Studies: Breaking Stereotypes in American Popular Culture. University of Zagreb Faculty of Humanities and Social Sciences; Croatian Association for American Studies, 2023. http://dx.doi.org/10.17234/9789533791258.08.

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Reports on the topic "Mexican Americans in popular culture"

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Humpage, Sarah D. Benefits and Costs of Electronic Medical Records: The Experience of Mexico's Social Security Institute. Inter-American Development Bank, June 2010. http://dx.doi.org/10.18235/0008829.

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Electronic medical record (EMR) systems are increasingly used in developing countries to improve quality of care while increasing efficiency. There is little systematic evidence, however, regarding EMRs' benefits and costs. This case study documents the implementation and use of an EMR system at the Mexican Social Security Institute (IMSS). Three EMR systems are now in operation for primary care, outpatient and inpatient hospital care. The evidence suggests that the primary care system has improved efficiency of care delivery and human resources management, and may have decreased incidence of fraud. The hospital systems, however, have lower coverage and are less popular among staff. The greater success of the primary care system may be due to greater investment, a participatory development process, an open workplace culture, and software appropriately tailored to the workflow. Moving forward, efforts should be made to exploit data housed in EMRs for medical and policy research.
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