Type and Stereotype: Chicano Images in Film

Latin Looks Pub Date : 1980-01-22 DOI:10.2307/3346029
L. Williams
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引用次数: 5

Abstract

The following essay grows out of my participation in and viewing of the television program Chicano Images in Film. It is intended to raise issues that were too complex for discussion within the program itself but which I consider important to my own understanding of the general prob lem of stereotypes in the media. As an Anglo I freely admit to speaking as an outsider about issues that do not directly affect me. But as a woman who teaches and makes films within the dominant culture of patriarchy I am acutely aware of the many ways this culture's representa tion of women in film and the other arts operates to flatten out, stereotype, or otherwise obliterate the truth of my existence. I share with Ch?canos, and any stereotyped minority, an abhorrence of a representational system that sees my reality as "other," my truth as grotesque caricature. It is obvious that women's bodies reduced to the status of sex objects for the delight of male subjects are no less stereotyped than the "lazy Mexicans" who serve as foils in countless Westerns to flatter the intelligence and energy of the Anglo cowboy. But at the same time I sus pect that the simple avoidance of racial or sexual stereotype in the name of more "real" presen tation of individuals may lead to a valorization of individualism that raises more problems than it solves. In the course of the panel discussion this problem occurred to me in the following form: it is all very well and good to criticize the media's use of grotesquely stereotyped villains, but doesn't much humor, certainly caricatures which take certain social types as the butt of the joke, depend on stereotype? Are we, for example, to censure Woody Allen's Bananas because it derives its humor from the caricature of Latin American "banana republics"? Although it may be possible to make a special case for the use of stereotype in so unrealistic a form as humor, this initial question led me to offer the following thoughts on the nature and function of media stereotyping in general and the more specific question of the search for a means of representation that will more truly reflect the realities of the Chicano experience.
类型与刻板印象:电影中的墨西哥裔美国人形象
下面这篇文章的灵感来自于我参与和观看的电视节目《墨西哥裔美国人在电影中的形象》。它的目的是提出一些问题,这些问题过于复杂,无法在节目本身进行讨论,但我认为这些问题对我自己理解媒体中刻板印象的普遍问题很重要。作为一名英国人,我坦率地承认,我可以作为一个局外人来谈论那些与我没有直接关系的问题。但作为一个在父权制的主流文化中教书和拍电影的女性,我敏锐地意识到,这种文化在电影和其他艺术中对女性的表现有很多方式,这些方式使我的存在变得扁平化、刻板化,或者以其他方式抹杀了我存在的真相。我和Ch?卡诺斯,以及任何刻板的少数群体,对一个将我的现实视为“他者”、将我的真相视为怪诞漫画的代表性体系的厌恶。很明显,为了取悦男性,女性的身体被贬低为性对象的地位,这一点与无数西部片中“懒惰的墨西哥人”一样,都是一种刻板印象,这些人在片中充当陪衬,用来奉承盎格鲁牛仔的智慧和活力。但与此同时,我认为,以更“真实”展示个人的名义,简单地避免种族或性别刻板印象,可能会导致个人主义的增值,这带来的问题比解决的问题更多。在小组讨论的过程中,这个问题以以下形式出现在我的脑海中:批评媒体使用怪诞刻板的恶棍是很好的,但是很多幽默,当然是把某些社会类型作为笑话的讽刺漫画,都依赖于刻板印象吗?例如,我们是否应该因为伍迪•艾伦(Woody Allen)的《香蕉》(Bananas)从对拉丁美洲“香蕉共和国”的讽刺中汲取幽默而谴责它?虽然有可能以幽默这种不现实的形式来使用刻板印象,但这个最初的问题使我对媒体刻板印象的性质和功能提出了以下想法,以及更具体的问题,即寻找一种更真实地反映墨西哥裔美国人现实经历的表现方式。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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