Ethos Pathos Logos In Sin Nombre

In a diverse society, America is home to many types of people, whose beliefs and experiences may arise conflict among the races. To diminish discrimination and show that there is a connection that unites each and every individual, films offer a different perspective of the lives of whom may be misunderstood and enable audiences to discover that others live under similar circumstances as themselves. How might the depiction of 21st century Latino immigrants be compared to that of 19th century southern slaves in feature films? Time nor race is a boundary that can stop two groups from relating to each other, such is the case with African-American slaves and today’s immigrants in the U.S. Like slaves, most immigrants work for a low wage in plantations, both these two group’s motives are also similar: the struggle for freedom. One

From there on movies shifted from their portrayals of Latino males as "Latin lovers" to "urban banditos". Films changed from problems involving women, sex, and love to delinquency, drugs, and gang fights. Movies such as West Side Story, Scarface, and Fort Apache, the Bronx, all use Latinos as "scapegoats" to focus the problems of society to the immigration of Puerto Ricans to the U.S.

Disasters like earthquakes, tornados, and hurricanes happen almost everyday. It takes help from first responders to get those in the disaster area to safety. But this puts the lives of who perform rescue missions at risk as well. In the November 2014 issue of Popular Mechanics magazine, Davey Alba’s article, “A Robot for Any Disaster,” is unsuccessful in convincing the readers of this idea through the limited use of pathos and redundant use of logos.

The movie Stand and Deliver (1988) begins with a character driving in an urban neighborhood as an introduction to the setting of the film. The various shots of the setting that are presented between cuts to the streets and to the intrigued face of the protagonist, Jaime Escalante, help provide the viewer context to this neighborhood's economic and cultural background. This movie directed by Ramon Menendez dramatizes actual events into a movie with the idea of combating stereotypes enforced upon low income Latinos and presenting a success story with the use of different Latino characters with their own unique conflicts. Angel Guzman is a Chicano gang member that holds an inner struggle between following the “easy predetermined path” that promises

Gregory Nava is a Mexican filmmaker who was born on April 10, 1949, in San Diego California. As a former UCLA alumni, Nava has produced several racially and culturally charged films that often break new grounds such as, El Norte, Mi Familia, and Bordertown. Thus, Nava dedicates his filmmaking career to give his audience a distinct point of view which is the central thread of his films and that which encompasses the Latino culture, experience, and their unjust treatment in America as oppressed minorities; with the hope of counteracting false stereotypes, misconceptions, promoting education, compassion, and acceptance of minorities. Nava does this by redefining the traditional labels of who the “insiders” and “outsiders” of society are, he also puts Latinos in the position of subjects through whose eyes the audience, experience plots, and who speak for themselves instead of being perceived voyeuristically by characters from outside the Latino community, and by incorporating what Nava describes as “dream realism” aspects to his films (Johnson, 2009).

"[Cinema] manipulates the human psychology, sociology, religion, and morality of the people..."(Cine-Aztlan 175). I has been said to be used by capitalists and socialists as a powerful weapon in the struggle for social justice. In all the Hollywood films and documentaries about Mexicans and Mexican-Americans, none have escapes stereotypes. And it hasn't gone unnoticed. Thomas Martinez states that the "symbolic function of advertising in one level of understanding the racist implications of the mass media, especially regarding the Mexicans and Mexican-Americans"(Camplis, in Noriega 284).

The west side story is a story about two gangs, the Sharks, who represent the Puerto Ricans and Jets, representing ‘the real Americans’. The two gangs are ever at loggerheads, with hatred and constant confrontations best describing their relationship. Many critics have shot down the praise of this film, by openly stating that, it falsely represented Puerto Ricans, by how it depicted them. The story itself is based in the 1950s, in one of the neighborhoods in New York City. (Hernández Vazquez 2002, 371). The neighborhood is a hard place to live in and from the start we are introduced to two warring groups fighting for the control of the neighborhood. This neighborhood is a place where ethnic and racial profiling are strife (Sandoval Sanchez 1999, 72). This paper discusses how the west side story, silences some of the historical injustices associated with the united states colonialism of Puerto Rico and then try to bring out how the Puerto Ricans characters are stereotypically portrayed in the film.

He covers how the camera work and history help build and reinforce the themes in Children of Men (2006), directed by Alfonso Cuarón. His article opens by stating the importance of Theo’s relatively calm reaction to the violent bombing that takes place. This leads to my argument on the influence that refugees and immigrants’ play in the film, as well silently referencing the tragic to 9/11 bombing. The frequent reference to them throughout the movie; being killed and violently contained behind fences and held in cages, address the familiarity of the worldwide “problem” of immigration. The fear of immigrants in “the name of national security,” is also evident in the film; even showing a Homeland Security banner later in the film. In the period of this movie, violence is not only enforced and upheld, it’s ignored. Alfanso’s analysis brought up character development, specifically Theo’s dependence, which I had not even considered prior to this reading. In the beginning of the film he appears socially detached; faking sympathy to the news of Baby Diego’s death with his coworkers- in an attempt to hide his distaste of the government. Julian’s death and finding out about Kee’s pregnancy forces him to become a leader. He acts as a selfless protagonist that develops throughout the film, and may symbolize the change within the government. Overall, Alfanso’s analyzation of Children of Men is very

The motion picture tackles difficult issues of marginalization of race, and discrimination of gender, rendering the women’s point of view to the forefront alongside racial discrimination. Although both groups are arranged together according to race, there is segregation in the familial unit between men and women. It is through overcoming this boundary and establishing unity between the oppressed, the marginalized are empowered to carry out their picketing.

Cultural norms for Latinos have stayed the same for ages and will not change until something is done about it. In the film Quinceañera (2006), it shows the controversial issues that Latinos are known to displease including teen pregnancy, being gay, and not conforming to the family’s religion. Carlos, one of the movie’s main characters, has been dishonored and excluded of the family’s house because of his sexuality and criminal activities. The only one that accepts him is his old uncle Tomas

The focus point of this week’s analysis is the film, Even the Rain. In this film a group of filmmakers travel to a poor town in Bolivia in order to shoot a movie about Christopher Columbus’s landing in America. They hire locals to star in the film and assist as cheap workers and laborers on the set. Outside the shooting of the movie, the main hired actor leads a resistance movement with the townspeople, many of whom are also involved in the film, against the government and a private company that is taxing the water the townspeople need to survive. This leads to protest and outbreaks of violence in the town that threatens instability.

For decades, one of the must use form of media is cinema. Cinema is not only a really appreciated entertainment and one of the biggest industry in present day, but also a really harmful media. One of the many problems associated with it is its influence over racism. De Cones’ book “Patterns of bias in Hollywood Movies” notably discusses prejudices in Hollywood. Racial boundaries, more particularly the Hispanic case, are also the focus of the books “Latino Images in Film” by Charles Ramírez De Berg and “The Hispanic Image in Hollywood” by Jorge J. De Barrueto, and the article “The Chicano/Hispanic Image in American Film” by Nimachia Hernandez. There is also Ross’ text “Politics in American film” which discusses how politic influences movies.

He was shot, although he did not have any weapon. In general, the film reveals the Mexican immigration issue and the problem of the tough relationship between the government and police and the immigrants. In addition, comparing the problems of racial discrimination in the film with the problems of modern American society, some vivid similarities and differences can be founded. The film shows a turning point in the American history, which has become a difficult period for most residents.

Peering into the lives of each migrant family whose story is told by this film, those who made the film were the closest representation of cultural relativism. Whether laying the back of a pick up to document a trip to work or living with a family for years to capture a picture to see where their lives are headed, these filmmakers and cameramen tasted what it meant to be a migrant worker. Dedication, clearly a high value for this team. It is a necessary attribute to have the access to infiltrate someone life on such personal levels. Trust is never a short journey, and this team traveled the road. Hence the quality of this film was achieved. The viewer had the opportunity to witness what it means to be a migrant, to witness both struggle and joy, agony and pleasure. The team was so immersed that it seemed that they could fit in, unnoticed by those they were filming. This allowed for genuine moments of real life. Comprehension of another culture could be ascertained by the crew and transferred to those who would eventually screen the film.

Sherman finds that “Zulay reveals the process of construction and collaboration that is usually hidden from view and makes it a central issue. What begins as a project about the Other ends as an extraordinary and evocative film by the self about the self.” While Zulay undoubtedly lays bare the collaborative process of ethnographic filmmaking, Sherman jumps too quickly to the conclusion that these points of reflexivity reveal that the primary knowledge gained is of the self. Rivera’s film gives us a very different reading of Prelorán’s work, emphasizing the very real encounters with cultural difference staged in these films and their power to transform both self and other. It points repeatedly to Prelorán’s choice to focus on the transcultural, that which is shared between cultures, as a point from which an understanding of cultural difference and a challenge to racial and ethnic prejudice may begin. Rivera’s film about filmmaking, his ethnography “at a remove,” shifts the focus from the transcultural and transculturation to interculturalism: from a recognition of shared human experience and an account of cultural exchange to the active promotion of dialogue and interaction between different