چکیده:
This paper studies the image of Latinos in the United States of America
through the Hollywood films production by the well-known Mexican director,Alejandro
González Iñárritu. Using content analysis of the Latinos characters in the three
films directed by him and in collaboration with screenwriter Guillermo Arriaga, the
present paper examines the masculinity frame to see whether the Latinos are
portrayed positively or negatively in Hollywood movies. Semiotics in films and the
Character theory are used as the theoretical framework. The reason for choosing
this director is to control the research for the racializationthat might exist if we pick
a non-Latino director. The hypothesis is that the portrayal of the main characters is
a violent masculinity and a negative one. Regardless of the intentional or
unintentional reasons behind it, the effect of such portrayal on the overall picture
of Latinos is a negative one in the sense that according to the representation
theory, using Goffman Character and Christian Metz’s Semiotics theories, people
tend to accept something that is repeated enough for them as the reality and
therefore act upon it.
خلاصه ماشینی:
"Mousavi1 Samar Sadeghi2 Abstract: This paper studies the image of Latinos in the United States of America through the Hollywood films production by the well-known Mexican director,Alejandro González Iñárritu.
Using content analysis of the Latinos characters in the three films directed by him and in collaboration with screenwriter Guillermo Arriaga, the present paper examines the masculinity frame to see whether the Latinos are portrayed positively or negatively in Hollywood movies.
Regardless of the intentional or unintentional reasons behind it, the effect of such portrayal on the overall picture of Latinos is a negative one in the sense that according to the representation theory, using Goffman Character and Christian Metz’s Semiotics theories, people tend to accept something that is repeated enough for them as the reality and therefore act upon it.
In the Amores Perros (2000), the dogfights which symbolize the underground war taking place in Mexico City is another aspect of the film which serves to hint this crisis in the gender order, and in particular, in masculinity (Ibid).
International Journal of Women’s Research According to Iñárritu himself, Babel "is about how our everyday lives are affected by walls, miscommunications and barriers" and what he "want[ed] to make clear in the film [is] that it’s not about the physical borders, it’s not the politics of the government, it’s about the politics of the human" (Cited by Stratton, 2006)."