By Camilla Fojas
The southern frontier is likely one of the so much emotionally charged zones within the usa, moment in basic terms to its ancient predecessor and accomplice, the western frontier. notwithstanding they span many genres, border movies percentage universal topics, hint the temper swings of public coverage, and form our cultural time table. during this exam, Camilla Fojas reviews how significant Hollywood motion pictures take advantage of the border among Mexico and the us to inform a narrative approximately U.S. dominance within the American hemisphere. She charts the shift from the mythos of the open western frontier to that of the embattled southern frontier by way of supplying in-depth analyses of specific border motion pictures, from post-World conflict II Westerns to drug-trafficking motion pictures to modern Latino/a cinema, inside of their ancient and political contexts.Fojas argues that Hollywood border movies do very important social paintings via supplying a cinematic house during which audience can deal with disturbing and bad histories and finally reaffirm middle 'American' values. whilst, those border narratives delineate opposing values and concepts. Latino border movies provide a severe vantage onto those subject matters; they problem the presumptions of U.S. nationalism and next cultural attitudes approximately immigrants and immigration, and infrequently significantly reconstruct their Hollywood relatives. by way of examining movies resembling "Duel within the Sun", "The Wild Bunch", "El Norte", "The Border", "Traffic", and "Brokeback Mountain", Fojas calls for that we reconsider the robust mythology of the Hollywood borderlands. This precise scrutiny acknowledges that those movies are a part of a countrywide narrative constituted of many texts and emblems that create the parable of the U.S. as capital of the Americas.
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Additional info for Border Bandits: Hollywood on the Southern Frontier (Film and Media Studies: Border Studies, Latin American Studies, Chicano A Studies)
In the ﬁnal installment of this genealogy, I examine recent revisionist Westerns, including Brokeback Mountain (2005) and The Three Burials of Melquiades Estrada (2005). indb 15 15 8/12/08 11:45:47 AM job-taking male immigrant, the crooked drug runner—and stock sets and scenery—the open desert, abandoned border towns, the canteen, the whorehouse. Many of these border ﬁlms belong to other genres or types—the Western, the action ﬁlm, the drug trafﬁcking ﬁlm, and Latino ﬁlm—but they are all Hollywood productions on, near, or about the border region, the roughly 2000-mile line separating and joining the United States to and from Mexico.
Fox explores border imagery across various media to trace the persistence of the national in this postNAFTA and thus post-national era. Her work dovetails with the works of scholars and critics who have examined the role of the border as a major symbol in bi-national politics. For many scholars, the borderlands are both a geographical location and a paradox of the social status and identity of Chicanos and Latinos. frontier narratives In Border Bandits: Hollywood on the Southern Frontier, I begin the genealogy of Hollywood border ﬁlms with classical post–World War II Westerns from the late 1940s to the 1970s, followed by the return of the Western hero as the border patrolman in the 1980s, the drug trafﬁcking Hollywood ﬁlm and television border stories, and ﬁnally the critical Latino border ﬁlms of “Hispanic Hollywood” from the 1980s and onward that shift the border genre to major urban centers.
They are also the most accessible ﬁlms of the genre, constantly replayed on commercial and cable television, and they make up a large part of the archive of Westerns available for video and DVD rental and purchase. This era is also known for the dominance of big-budget Westerns with high production values, coinciding with the height of the genre. The nostalgia for the postwar Western also has to do with the affective engagement demanded from the viewer. These ﬁlms are more complex and psychologically compelling than their predecessors, reﬂecting the more complex social and cultural conditions following the war.