Download Dance and the Hollywood Latina: Race, Sex, and Stardom by Professor Priscilla Peña Ovalle PDF

By Professor Priscilla Peña Ovalle

Dance and the Hollywood Latina asks why each Latina celebrity in Hollywood background, from Dolores Del Rio within the Nineteen Twenties to Jennifer Lopez within the 2000s, started as a dancer or danced onscreen. whereas cinematic depictions of girls and minorities have likely greater, a century of representing brown ladies as typical dancers has popularized the concept that Latinas are inherently passionate and promiscuous. but a few Latina actresses grew to become stars via embracing and manipulating those stereotypical fantasies.

Introducing the options of "inbetween-ness" and "racial mobility" to additional remove darkness from how racialized sexuality and the dancing girl physique function in movie, Priscilla Peña Ovalle makes a speciality of the careers of Dolores Del Rio, Rita Hayworth, Carmen Miranda, Rita Moreno, and Jennifer Lopez. Dance and the Hollywood Latina is helping readers greater know how the USA grapples with race, gender, and sexuality via dancing our bodies on monitor.

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Additional resources for Dance and the Hollywood Latina: Race, Sex, and Stardom

Sample text

Latino companion. 22 The jingle lyrics frame the Latina as a desiring woman, thus subverting the traditional equation of desiring male subject mobilizing the latina myth 17 Figure 3. The Hollywood Latina is a sinuous combination of vanilla/whiteness and caramel/brownness in this Jell-O commercial. Clockwise, from top left: the symmetry of the liquid mimics the Hollywood Latina’s deliciousness and in-betweenness. and desirable female object for its target female audience. Yet the presence of a male dance partner—in excess of the female backup dancers—suggests that hetero-normativity is an equally important signifier of Latina-ness.

By mobilizing race and shaking her assets, the Hollywood Latina uses the myth to get paid. chapter 2 Dolores Del Rio Dances across the Imperial Color Line Borders are set up to define the places that are safe and unsafe, to distinguish us from them. —Gloria Anzaldúa In Wonder Bar (1934), Al Wonder (Al Jolson) entertains a Parisian nightclub crowd with a song before the club’s headlining dancer Ynez, played by Dolores Del Rio, takes center stage. Jolson augments his singing with his signature facial expressions and hand gestures.

22 The jingle lyrics frame the Latina as a desiring woman, thus subverting the traditional equation of desiring male subject mobilizing the latina myth 17 Figure 3. The Hollywood Latina is a sinuous combination of vanilla/whiteness and caramel/brownness in this Jell-O commercial. Clockwise, from top left: the symmetry of the liquid mimics the Hollywood Latina’s deliciousness and in-betweenness. and desirable female object for its target female audience. Yet the presence of a male dance partner—in excess of the female backup dancers—suggests that hetero-normativity is an equally important signifier of Latina-ness.

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