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Present an analysis of a so-called Good N eighbour film, making reference to the socio-political context in which the film was produced, and reflecting on the representation of Latin America(ns) in the film. Jemma Wark, Teri Crawford, Joelle Horner and Sarah Phythian. Outline.
Present an analysis of a so-called Good Neighbour film, making reference to the socio-political context in which the film was produced, and reflecting on the representation of Latin America(ns) in the film
Jemma Wark, Teri Crawford, Joelle Horner and Sarah Phythian
"To ensure that nations in Latin America were joined in the Allied war effort and were not associated with the Axis or Communist sympathisers."
"To allow the US access to Latin America as a source of raw materials and a market for goods, including films."
(Falicov, 2007: 15)
Through a unique programme called the ‘New Deal’:
• Latin songs in vogue
• Radio campaigns:
FDR’s fireside chats
• Photography campaigns.
• Tours by Carmen Miranda and Dolores del Rio.
Mexican soundsMexican-style village dance
Brazilian Portuguese song by Carmen MirandaSamba also featured
American Tap Dance
Cuban style music
Rumba also mentioned
"Exotic sex object":
"So very much delightful to meet you (...) and now if we will come with you, you can escort me to the hotel."
"Us will be glad to."
"the denial […] and erasure of real differences (the similarities are only really between cultural and economic elites)". (Swanson, 2009: 3)
The ideal place to escape to
Similar to North Americans to an extent
Union of Glenda and Ricardo reflects the aim of the Good Neighbour Policy
Negative reception in Latin America
Augusto, Sérgio, ‘Hollywood looks at Brazil: From Carmen Miranda to Moonraker’ in Brazilian Cinema. Ed. Randal Johnson & Robert Stam, New York: Columbian University Press, c1995 pp. 315-361.
Clark, Walter Aaron, From Tejano to Tango: Latin American Popular Music. London: Routledge, 2002
Dennison, Stephanie and Shaw, Lisa, Essays on Modernity, Gender and National Identity. North Carolina: Mc Farland and Company, Inc, 2005, pp.180-208.
Falicov, Tamara, L., The Cinematic Tango: Contemporary Argentine Film. London: Wallflower Press, 2007, pp.6-21
Growther, Barry, \'The Screen: \'Down Argentine Way\', with Betty Grable, at Roxy --J. Barrymore in \'The Great Profile\' at the Palace\', 18/10/1940. http://movies.nytimes.com/movie/review?res=9D04EED6103EE432A2575BC1A9669D946193D6CF. Accessed on 23 November 2012.
López, Ana M., ‘Are all Latins from Manhattan? Hollywood, Ethnography and Cultural Colonialism’ in Mediating two worlds : cinematic encounters in the Americas. Eds. John King, Ana M. López & Manuel Alvardo, London: BFI Publishing, 1993, pp. 67-80.
Pike, Fredrick,B., FDR’s Good Neighbour Policy: Sixty Years of Generally Gentle Chaos. Austin: University of Texas Press, 1995, pp. 2-124.
Roberts, Shari, ‘The Lady in the Tutti-Frutti Hat’ in Hollywood musicals, the film reader. Ed. Stephen Cohan, London: Routledge, 2002, pp. 143-158.
Swanson, Phillip, ‘Going Down on Good Neighbours: Imagining América in Hollywood Movies of the 1930s and 1940s (Flying Down to Rio and Down Argentine Way)’, Bulletin of Latin American Research, Vol. 28., No. 3., 2009, pp.1-14.
http://www.tcm.com/tcmdb/title/73531/Down-Argentine-Way/. Accessed 20November 2012.
http://uk.imdb.com/title/tt0032410/. Accessed 22 November 2012.
Film clips and stills taken from: Down Argentine Way (1940).