#i was analyzing the art style of cartoons from the 60s or 70s and like hanna-barbera csrtoons

[flaminhotllama]

anytime i show my friends my drawings they’re like “i can see the one piece” but it’s not inspiration from one piece, it’s inspiration from my love of classic cartoons like tom and jerry and merrie melodies cause i grew up with that. one piece also has similar inspirations so

[vc-vc]

Mod 2

Art work by Lalo Alcaraz

Chapter 2: Latino Film in the End Times

Chapter two of the book "The Routledge Companion to Latina/o Popular Culture," edited by Fredrick Luis Aldama, explores the impact of Latino films targeting labor policy and border practices during a time of intensified immigrant phobia and economic crisis, also known as the End Times. The Author of chapter two, Camilla Fojas, begins by introducing the first-ever Mexican/ Chicano co-produced 1979 film Raices de Sangre to set the framework for the main themes of the chapter. For the first time, the realities of the border and Mexican migrants reached cross-border audiences, as the film documents issues such as labor and immigration rights for migrant and maquiladora workers. The chapter analyzes three prominent Latino films that address labor policy and border practices, among other issues during End Times, Maquilapolis (2006), Machete (2010), and Cesar Chavez (2016).  Fojas explores how each film succeeds in encouraging messages of social change while also calling attention to their flaws and limitations. Having recently seen the film Maquilapolis, I found that Camilla Fojas brilliantly highlighted the film's intention in using unconventional and "experimental" methods of conveying their message. Rather than catering to mainstream audiences like the films Cesar Chavez and Machete, Maquilapolis prioritizes shaping a social narrative through the eyes of the women who share their stories of inequity. After reading Fojas's criticism of each film, I began to think. While Maquilopolis succeeds in highlighting meaningful social change, its marketability and accessibility suffered due to its unconventional style. So. Is it more beneficial to create social change films with the audience in mind or with the story in mind, and how can this impact the future of Latino film in the End Times?

Chapter 3: "¡Vámonos! Let's Go!"

Chapter three of the "The Routledge Companion to Latina/o Popular Culture," edited by Fredrick Luis Aldama, written by Isabell Millán, focuses on the development of children's television programming with an emphasis on programming directed toward Latina/o children, with openly Latina/o characters, bilingual content, and content with racial, ethnic or cultural references. Millán credits the global success of Latina/o children's Television series Dora, the explorer, calling it the single most influential Latina/o character for children in the U.S. Millán states that the commercialization of television sets in the 1920s had mainly been used for commercial business and governments. It wasn't until after WWII that television began making its debut as a private home commodity, and so did popularizing television programming aimed at children (family). One of the first depictions of Latina/o characters in children's T.V was the 1950’s-character Speedy Gonzalez in Warner Brothers' Looney Tunes and Merrie Melodies, a character highly associated with racial and ethnic stereotypes of Mexicans and Latina/os. Following the successful othering of Speedy Gonzales, years of cartoons in mainstream media throughout the '60s generated only one show centering around children of color, the 1969 Hey, Hey, Hey It's Fat Albert show. Millan calls attention to the PBS show Seasame street; while it did target a more diverse range of representation, its funding resulted from the Governments' attempt to create a cheaper and "reusable" alternative to preschool programs. In the '70s, Live-action shows such as Carrascolendas and Villa Alegre became significant Latina/o staples because of their content, educational value, and opportunities for Latina/o professionals in television. Children's television in the '90s became overrun with consumerism and toy marketing lowering the educational value of the shows and making use of Ambiguous Latina/o characters, with the 2000's taking on a similar approach. Isabell Millán goes onto share the global success of Dora the Explorer, however, mentioning the attempt by the show's network to commercialize on the popularity of the show to turn more profit. One of the ideas in the text that stood out the most to me was the discussions of Disney's attempt to patent/trademark the phrase "Día de Los Muertos" or "Day of the Dead" for office application, only withdrawing after massive uproar and protest. Día de Los Muertos is a traditional Mexican festival celebrated by many Mexican peoples inside and out of Mexico and holds high cultural significance. This, to me, seems like a blatant disregard and disrespect for Mexican tradition, history, and culture. The idea that Disney thought it would be ok to lay claim to someone's culture baffles me. After reading this chapter, I searched for the cartoon drawn by Lalo Alcaraz on the topic and found his depiction of the Muerto Mouse, and found his use of the Horror Genre to criticize Disney attempt, to be impactful. This Cartoon can be seen up top.

 Chapter 4: Branding "Latinohood," Juan Bobo, and the Commodification of Dora the Explorer

Chapter four of the "The Routledge Companion to Latina/o Popular Culture," edited by Fredrick Luis Aldama, argues that the commodification of Dora the Explorer and the Juan bobo character in the U.S serves to present "Latinahood" in a palatable and profitable manner for popular American mainstream media, under the guise of empowerment and a source of Latina/o pride. Cristina Rivera, the Author of chapter four, questions how the depictions of the seemingly educational Dora the Explorer and Juan Bobo in pop culture and the mainstream media is a perpetuation of Latina/o stereotypes, functioning to demean Latina/os by portraying Latinahood as one thing, when in fact Latinahood encompasses many different cultures. Similarly, The Juan bobo character in Dora the Explorer perpetuates the portrayal of Latino men as docile, incapable, and unfit to lead. Rivera contradicts the idea that the written publication of Juan Bobo (used to teach Puerto Rican children English after the U.S. claimed it as a territory) allows the oral traditions of Puerto Rican storytelling to continue by calling attention to the purpose of using print in place of oral story-telling, which is to whitewash and Americanize the way that Puerto Rican children learn and think. Rivera suggests that the commodification of Latina/o culture in the childish depictions of Latina/o characters is a form of racial profiling that works to repress, implying that not all representation is positive. I enjoyed reading this chapter because it brought attention to issues that are often ignored regarding the representation of the Latina/o community. While Dora is often given credit for its groundbreaking global success and seemingly positive representation of Latina/o culture by centering around the adventures of a Latina/o character, it still has a high level of ambiguity. Dora the explorer lumps all Latina/os into one category, and so it made me wonder. If the primary exposure of Latina hood to American children is Dora, how does that shape their perception of Latina/os? I mentioned previously that I had often been told I didn't look Latina as a child. Having read this chapter, I now have a greater understanding of the mechanisms that perpetuated these ideas in my peers.

[ensembleeding]

1 to 100, cause these are goood.

Thank youuuuuuu this was so fun1. Pandora!2. I would say clean but I don't want to lie, so MESSY3. Blue-grey4. I used to hate it because it's super common where I live, but I've grown to like it more because it can be found in so many cultures around the world, which is awesome, and is a palindrome, which is also awesome.5. Single6. Imaginative, serious, passionate7. Blonde8. I'm too young to drive, so I'll say that I walk and it's great. :)9. Depends on what I'm shopping for, but mostly Maurice's, Target, Charlotte Russe, and Levi's, because I can find stuff to fit my body type there (it is seriously impossible to find jeans for short legs)10. Simple with a dash of lumberjack (I wear a ton of plaid and jeans)11. I guess this one? Or my Wattpad, if that counts as social media.12. A double bed.13. Yep! A younger brother.14. New York City. I love the energy of it there, with the non-stop feeling, and I feel like a lot of interesting people live there because it's such a huge place. Also, I love the theatre, and NYC IS Broadway, and I am so here for that.15. (I don't have a Snapchat so non applicable, I guess?)16. I don't really wear a ton of makeup from a variety of brands, but I've been using Ulta and that seems to work pretty well.17. 6-7 times. 18. Ohhhhhh jeez, um, Downton Abbey, I guess? Even though it's over.19. 7.5 in US sizes20. 5"1.75. Which isn't totally short, but I've met a lot of people who are super, super tall recently, which makes me just feel shorter?21. Sneakers, hands down, or going barefoot because that's the most comfortable 22. I have gym class, so...I guess?23. Well. Um. Huh. I've actually never thought about this. Maybe meeting up in a coffeeshop and talking, and then going out to a museum or stargazing? I'd like a date that focuses on24. Eight dollars, plus around maybe one dollar in the change part?25. None, I'm barefoot! 26. One.27. Nope! But I hope to write, or get involved in media production.28. Ummmmmm okay. I'd say I have maybe seven friends who I'm super close to who stayed in touch with me when I moved recently, and then a squad of maybe 10 people where I currently live? Give or take. I'm not the closest to everyone in the squad but I have some friends outside of it so it still rounds out to about ten. But how close I am to these people is an uncertainty.... AND moving on.29. The worst thing I've ever done is probably in correlation to a huge project I once did. I went all *control freak* and got hysterical over stuff and disregarded other people's feelings and opinions.30. Pine, I think.31. Tom, Ivan, and Cody32. Caitlyn, Rowan (even though it's a gender neutral name), and *dice roll for a name*33. Aaron Tveit and Lin Manuel Miranda.34. I HAVE A LIST: Cynthia Erivo (when she performed on the Tonys I was so wildly impressed and amazed and was squealing the entire time after), Sutton Foster (I am obssesed with her tap dancing), Karen Olivo (It Won't be Long Now is my jam), Sam Barks (EPONINE), Patina Miller (my fave leading player in Pippin), Renee Elise Goldsberry (Satisfied. Just. Satisfied.), and Anna Kendrick because I love her voice.35. Do fictional characters count? Because Nina Zenik.36. Wadjda. 37. I read a lot, and my fave book is The Book Thief by Markus Zusak.38. Brains39. My dad calls me Anna Banana.40. Once, when I was born. Twice, when I had tendonitis. Three times, when I had tendonitis again. And then there's all the times I visited family in the hospital, which is honestly too much for me to count.41. Oh. Um. Uh. Well.(In no particular order) The Witch (Big Fish the Musical), If I Were a Bell (Guys and Dolls), Candy Store (Heathers the Musical), Mamma Mia (Mamma Mia), Watch What Happens (Newsies), Live in Living Color (Catch Me If You Can), Right Hand Man (Something Rotten!), Girl in a Country Song (Maddie and Tae), Castle (Halsey), Mama Who Bore Me (Spring Awakening)42. Nope.43. Dry44. Rejection. Exclusion. Not being accepted. Oh, and buildings crashing on top of me.45. None.46. I honestly just leave it down and don't do anything with it because I keep it in an asymmetrical bob.47. It's a ranch style I think?48. My mother, Hermione Granger 49. I think I50. "Um where? Let's meet by the door" (me texting my dad in the bookstore as a lost child)51. OLD. Like, ten or eleven. 52. Living in NYC so I don't have to have one.53. Not a good thing, and incredibly unhealthy and dangerous. When I was younger, I was bold enough to tell my uncle to stop smoking. 54. I hope I will.55. Novelist! Which is super fantastically improbable. But I'd love to do something with the arts and/or media.56. Suburbs.57. Honestly I use them up and then there's nothing left to take but aside from that OF COURSE.58. One on my knee, one on my finger. Other than that, no.59. Yes.60. Too many to count.61. Nope.62. I never really got into cartoons, actually.63. McDonald's.64. Ranch or soy sauce.65. Pyjamas, or a big T-shirt and underwear.66. No.67. Writing, reading, analyzing, theatre in general, film editing, and karate (the last two I really miss because I haven't found a place to do either one of them68. Sort of? But not really 69. I play the button box accordion. Well, I'm learning. I only know three songs.70. I have no clue. And not because I go to a ton of concerts, but because I go to so few that my timeline is screwed up. I think I went to see Dvorak's new world symphony though?71. Tea72. Starbucks 73. No, not really.74. What crush? 75. When who does the what now? :P76. Pink and blue.77. Too many people, including myself.78. Closed79. I believe that there is another plane of existence on top of ours. But other than that, no clue.80. Blue Wind from Spring Awakening--all of the lyrics in that.81. My mom.82. Chocolate chip cookie dough.83. REGULAR84. Rainbow sprinkles!85. I'm wearing a show shirt from the first show I was in (in middle school) Fiddler on the Roof Jr. It's yellow.86. This is going to sound really weird, but once I was hiding under the covers and the light was coming through and making it glow and, well, I took a pic of it and now it's my background.87. Both. Somehow. Sort of?88. Only if I trust them.89. The one I know is very nice.90. When I shower, so usually at night.91 and 92. No and no.93. A piece of cheddar cheese.94. Blue Wind from Spring Awakening.95. Winter96. Night97. Dark98. May99. Taurus sun, Capricorn moon, Gemini Venus, Mars, and Mercury100. My dog.