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Mediating Frida : Negotiating Discourses of Latina/o Authenticity in Global Media Representations of Ethnic Identity
Abstract
This article analyzes the discourses of Latina/o identity embedded in the movie Frida , the Latino news coverage about the film, and an on-line chat stream about the film. Comparing the identity discourses circulated by the movie's producers, Latina/o journalists, and Latina/o audiences when discussing the film shows how different communities negotiate the meanings of ethnic identity. The study concludes that the discourses of ethnic identity circulated through the movie, news coverage, and chat stream disrupt notions of Latina/o ethnic identity as a stable and commodifiable demographic category.
... Regarding this issue, Guzman (2006) said that to present any content, media are influenced by the dominating culture and beliefs. Working on transgender representation in media, Cavalcante (2018) added, media are influenced by dominating culture and stereotype thoughts to represent the transgender community and transgender people are misrepresented in the media. ...
... However, Guzman (2006) said, to present any content, media are influenced by the dominating culture while Dukes & Gaither (2017) and Horton, Prince and Brown (1999) opined that the films represent minorities stereotypically. Working on transgender representation in film, Jobe (2013) said, the transgender people often get misrepresented in film. ...
... Moreover, all the data and evidence show that there is no dissimilarity between the representation of the film and reality. Therefore, supporting Guzman (2006) and Cavalcante (2018), it can be said that the media are influenced by the dominant culture. ...
This research has done to know how transgender people are represented in Bangladeshi film. Research found that transgender people are highly misrepresented in film and for this misrepresentation-they have to pay to achieve their rights from society. Hence, to work for the betterment of the transgender community in Bangladesh; it is important to know their representation style in Bangladeshi film. This paper has analysed the film Common Gender based on the content analysis method and the film narratology method while the representation theory worked as its theoretical framework. This paper found the film has represented transgender people in the same way that the Bangladeshi dominant society thinks about transgender people. There are no differences between the representation style and the reality. Hence, it can be argued that Bangladeshi films are influenced by the Bangladeshi dominant culture and transgender people have to pay to achieve their rights from society.
... In looking at the Latina/o media analyses found in mainstream Communication journals, we find that while the Latina/o-centered medium for analysis is widely varied, there are few analyses of films (Baez, 2007;Guzmán, 2006;Lindenfeld, 2007), photography , popular music (Delgado, 2000;, print media (Delgado, 1998a(Delgado, , 1998bFlores, 2003), celebrities (Guzmán & Valdivia, 2004;Merskin, 2007;Shugart, 2007), and television serials (Holling, 2006). Therefore, this essay addresses an emergent, increasingly important, and clearly underexamined space of scholarly query in the field. ...
... Noting a similar trend, Guzmán (2006) argues that Mexican artist Frida Kahlo was displaced from anticapitalist and feminist themes to draw out a more general version of latinidad or Latina identity. ...
This essay analyzes the contemporary constructions of Latina/o identity, Latina/o gender and Latina/o nationality as evidenced in the self-proclaimed “first major studio comedy to reflect the Hispanic cultural experience in America,” Chasing Papi. The contradictions between the film's progressive mission and the film's representations are teased out by a cross-reading of the film's usage of the popular Chicana/o mythic figure, La Llorona. Invoking La Lorona as muse and means, we find that the Latin Lover stereotype succeeds in its anti-assimilationist task while concurrently furthering confusion on who and what is a U.S. Latina/o. However, the authors also demonstrate how cultural cross-readings can provide hope out of delimiting discursive constructions.
... Scholars have articulated and explored the construct of authenticity to study, for example, films (Hart & Woldemariam, 2008;Pierson, 2003), journalistic practices of tabloids (Bromley, 2003), media representation of ethnic identity (Molina, 2006), music genres (Herman & Sloop, 1998;McLeod, 1999;Peterson, 1997), political discourse (Liebes, 2001), reality television shows (Aslana & Pantti, 2006;Kraidy, 2009), rhetoric (Dickinson, 2002;Hasian, 2005;Zickmund, 2007), self identity (Holt & Griffin, 2009), television broadcasting productions (Montgomery, 2001;Piccirillo, 1986), and virtual reality (Jones, 1993). ...
... Discourses and claims of authenticity will lose credibility when they clash with the established and accepted values and beliefs of a society that are being portrayed by media products. Molina (2006) citing Griffiths (1995) stated that "[d]iscourses of authenticity override the complexity of difference, erase the voice of the group being represented, and may be used to create social hierarchies" (p. 235). ...
With the purpose of going around the dilemma between evilness or apology of media, this article proposes the Popper analytics �conceptually elaborated by Michel Foucault, and more specifically the concept of Power Relations � as a perspective which allows noticing some of the characteristics of power analysis which results from the virtual interaction. The arena of this reflection will be the concept of Control Corporations, as an own configuration of contemporaneous companies Con el fin de rodear un poco la disyuntiva entre demonización o apología de los medios, el presente escrito propone la analítica del poder -elaborada conceptualmente por Michel Foucault, y concretamente la noción de Relaciones de poder- como perspectiva que permita asomarse a algunas de las características que reviste el ejercicio del poder que tiene lugar a partir de la interacción virtual. El escenario de esta reflexión será, a su vez, la noción de Sociedades de Control, como configuración propia de las sociedades contemporáneas.
... Entre los estudios científicos sobre iconos populares específicos, la figura de Frida Kahlo sobresale en varios aspectos: por su influencia en las estrategias económicas o políticas de México (Girona, 2008), el debate sobre su repercusión como símbolo frente a la apreciación de su arte (Nelson, 2013) o el análisis de los discursos de la identidad latina en la película sobre su persona (Molina, 2007). ...
El término mainstream está relacionado, en la cultura popular, con aquellos iconos del cine, del arte y de la política que se han extendido en un mundo globalizado gracias a los medios de comunicación y la publicidad y que han trascendido las décadas y resurgido en diferentes momentos de la historia. La presente investigación tiene como objetivo observar la manera en la que los usuarios de redes sociales crean contenido propio empleando los iconos culturales escogidos (Frida Kahlo, Che Guevara, Marilyn Monroe y Pablo Picasso). La metodología posee un enfoque mixto, que acude a variables cuantitativas: número total de publicaciones, alcance, impacto, conexión emocional (engagement) y al análisis de contenido cualitativo, para averiguar los valores que mayoritariamente se atribuyen a cada uno de estos iconos en los medios sociales (social media). Como principales hallazgos, el análisis de contenido revela que las publicaciones se usan casi exclusivamente como homenaje e identificación de marca (branding); que Frida Kahlo es el personaje más utilizado para la venta de arte y moda, y con el que más se identifica la gente joven (20-30 años); y que las imágenes del Che y Marilyn Monroe son las que más “me gusta” (likes) y comentarios obtienen, lo que genera más interacción y conexión emocional, especialmente entre el público de 35-45 años. En relación con el análisis de los valores más representados en las publicaciones (que fortalecen un discurso masivo), se comprueba que el arte es el intangible más utilizado para personificar a Frida y Picasso, mientras que el patriotismo y la libertad están más vinculados con el Che, y el amor, la belleza y la sensualidad con Marilyn.
... The selection was based on the highest-grossing movies, mostly produced in the US, which were framed as "Global Hollywood, " and with considerable worldwide consumption. As Molina (2006) argued, Global Hollywood is a capitalist institution consistent with the concepts of cultural commodification and identity formation in the transnational worldview. Moreover, Global Hollywood embodies the internationalization of financing, production, and distribution (Goldsmith et al., 2012), framing the international impact of American Firstly, the researchers conducted a qualitative analysis by examining the selected movies and verifying whether each of the variables associated with traditional and alternative models could be observed in the film through inter-reliability correspondences. ...
Romance cinema may recreate cisgender heterosexual couple representations by means of image-making, with the use of gender bias or traditional images that have considerable effects on how women and men are represented or are expected to behave, which may confront egalitarian models of relationships. This study aims to analyze how the traditional model of couples is represented in the 20 romantic highest-grossing movies selected from the years 2000–2010, and whether the reading of non-egalitarian images awakens different meanings and reflections by experts and undergraduates in Higher Education (areas of education and communication). For this aim, a mixed methodology was used, first qualitative (six in-depth interviews with academics and film analyses of the selected movies), then quantitative (questionnaire to 251 undergraduates analyzing films), and then qualitative again (personal reports from the same students). Results confirmed the reflective making of gender bias and non-egalitarian images of couple relationships in six of the box-office films, with moderate percentages in categories of Submission, Dominance, Dependence, and higher percentages of Manipulation, either for/from women or men. The study concludes that romance cinema was positively valued by students and academics as an enabling cultural product for the analysis, reflection, and deconstruction of non-egalitarian images, so that higher education students can be guided to critically seek suitable understandings of gender and couple relationships.
... The emerging representation homogenizes Latinidad as assimilated and thus innocuous-but just exotic enough to be desirable. Such safe exoticizing was also accomplished by the film Frida and was reproduced by Spanishlanguage media that celebrated the film as a success and affirmation of Latinas and Latinos (Molina Guzmán, 2006). Exoticizing in media works through dialectical categories of visibility that inspire simultaneous desire of and repulsion from ethnically marked bodies (Sastre, 2014). ...
... Alguns estudos analisam o cruzamento entre gênero e raça, mas referem-se à questão racial como identidade étnica, considerada como moderador nas formas como estudantes universitárias negras se relacionam com os modelos de beleza, veiculados em vídeos de rap (ZHANG; CONRAD, 2009). Molina Guzmán (2006) realiza uma pesquisa de recepção sobre a identidade latina, construída no filme Frida (Julie Taymor, 2002). A autora compara os discursos veiculados pelos produtores do filme, pela cobertura jornalística e também as percepções do público, diferentes comunidades que negociam os significados da latinidade construída nesta narrativa cinematográfica. ...
Diante da pouca representatividade de estudos sobre genero e raca nas pesquisas de Comunicacao e Cinema no Brasil, busca-se a partir de um breve levantamento de artigos publicados em revistas cientificas, identificar outras perspectivas, tematicas e abordagens, especialmente relacionadas aos estudos de recepcao audiovisual. Propoe-se ainda uma reflexao sobre as possibilidades e os desafios dessa linha de investigacao, que se articula com a cultura, a critica feminista, as relacoes de genero e as experiencias dos sujeitos. http://dx.doi.org/10.5902/2175497713041
... Yet, a discernible focus in the scholarship discussed earlier in this essay reveals a focus more specifically oriented toward interrogating the sign of Latina/o, its manifestation in visual, written, and/or spoken form. "Latina/o communication" is also noted as explicitly committed to accounting for the influence race and the bases of connectivity amongst Latina/os (Calafell, 2007;Guzmán, 2006;Valdivia, 2004). Certainly additional work is encouraged that would continue to elucidate rhetorical performances of existing and emergent "Latina/o" identities and communities that underscore their hybridity and heterogeneity. ...
This essay is a retrospective of Latina/o rhetorical and performance scholarship in which relevant themes and directions from the past 30 years are discerned. Identified are four periods beginning in a stage of recognition, progressing to integration, marked by a (re)turn and currently at re-politicalization. Within these periods two areas have been made explicit, namely, “Chicano communication” and “Latina/o communication” which I argue are parallel endeavors pursuing different yet complementary objectives that participate in reconstitution.
... Moreover, the process of ethnic identity negotiation often involves claims of membership authenticity (Verkuyten, 2005). That is, individuals are frequently called upon to account for their ethnic category membership, and certain category features may be treated as exemplary for claiming genuine membership (Guzman, 2006). For example, speaking the language and biological descent are often regarded as necessary features of claiming an ethnic identity (Ang, 2001;Lewin, 2005;Verkuyten, 2005;Verkuyten & de Wolf, 2002). ...
We explore the discursive construction of Italian identity among a bilingual sample of Italian-born Western Australians. Focus groups were held with two groups: Italians who had migrated to Australia as children and a group who had migrated as adults. We found intra- and inter-individual differences in identity construction, with much discourse devoted to demonstrating Italian authenticity and negotiating ethnic category boundaries. Shared markers of authenticity included language, heritage and food. The groups varied in their selection of referent groups to make authenticity claims, with the child migrants drawing upon the shared Australian stereotype of ‘wogs’ to construct and authenticate their Italian-ness. In contrast, adult migrants constructed Italian identity through comparisons with the dominant Australian ethnic group and in relation to a broader ‘migrant’ identity. The findings highlight the fluid and complex nature of ethnic identity and the need for further exploration of how it is constructed in talk. Copyright © 2009 John Wiley & Sons, Ltd.
... In constructing the image of Obama, cogent symbols for racial progress and leadership emerge, making him a convenient metaphor for respondents to mediate discourses on progress. Figure 1 shown below demonstrates the projection process through which white-male elites use metaphorical language and 14 Other studies have focused on other famous men and women of color such as Oprah Winfrey, Bill Cosby, and Frieda Kahlo in highlighting discourses that deny race, reinforce liberal notions of autonomous individual subject, and examine positive representations of race and gender (Cloud, 1996;Inniss & Feagin, 1995;Jhally & Lewis, 1992;Molina-Guzman, 2006;Peck, 1994;Smith, 2008;Squires, 1997). descriptions to project discourses of progress through the conceptual metaphor Obamaas-Great-Man. ...
This study examines white-male elite understandings of diversity and leadership to consider possibilities for exploring articulations of white masculinity. Sixteen semi-structured interviews were conducted with white-male leaders in their organizations who by virtue of their race, gender, class, and education, exercise much power and control in their organization. I used grounded theory methodology to highlight the communication strategies that white-male elites employed when talking about leadership and diversity. Techniques in grounded theory methodology yielded concepts, descriptors, and semantic moves that were articulated to intersecting discourses of race, gender, and sexuality. Through the intersectional matrix, I posited that multiple functions of social identities of white-male elites are essential in (re)producing positions of power. Nuanced talk on leadership and diversity (re)produced discourses of white masculinity as intersecting discourses operating within particular functions of white hegemonic masculinity—white, heterosexual, and patriarchal power. White-male elites in this study used four communication strategies when discussing leadership and diversity: some white-male elites highlighted the significance of race in society, while others denounced race for more appropriate observations outside of racial identity categories; many white-male elites approved binary categories between men and women; some white-male elites buttressed race transcendent ideas; and some white-male elites verified their own privileged positioning. These communication strategies revealed the contradictory meanings of race and gender in white-male elite discourses on leadership and diversity. Thus, theorizing white masculinity constitutes the negotiation of identity politics within social anxieties of the multicultural context. The notion of studying up is important in revealing the context in which I, a black heterosexual male researcher, construct meanings about white heterosexual male bodies. This context provides a unique location within the intersectional matrix to observe the process of communication operating in the creative engagement, management, and negotiation of meanings in co-creating, reproducing, and reaffirming whiteness, heterosexuality, and masculinity ideologies. Communication Doctoral University of New Mexico. Dept. of Communication and Journalism Foss, Karen Chavez, Karma Collier, Mary Jane Allen, Ricky
This entry provides an overview of poststructuralist approaches to identity and how they have been applied and developed by critical intercultural communication scholars. The key elements of poststructural conceptions of identity are: the decentered subject, the Other as defining the self, difference, power as constitutive of identities, identities being fluid, multiple, and produced through contextual intersections, the notion of agency as performative, and articulation and rearticulation of identity formations.
Jane the Virgin (JTV) and One Day at a Time (ODAAT) are two contemporary shows that have disrupted a traditional media landscape that has largely overlooked Latina/o/x immigrants. Both shows reflect the burgeoning Latina/o/x viewership and embody the changing nature of the available representations by centering Latina/o/x immigrants, including those who are undocumented. This chapter examines the immigration narratives represented in these shows. We argue that JTV and ODAAT aim to normalize Latina/o/x families as American families without erasing their Latinidad. More concretely, we examine how JTV and ODAAT address three main themes: (1) Different pathways to residency/citizenship, (2) the experience of being undocumented, and (3) political consciousness and activism in relation to immigration. Through these themes JTV and ODAAT expand beyond the problematic dominant discourse of Latinx migrants.
This study centers on the racialized experiences of Afro-Latino undergraduates at historically White institutions. Of particular interest, I examine how six Afro-Latino collegains experience intragroup marginalization due to colorism. The research design is undergirded by critical race theory and a critical race methodology. Participants’ narratives reflect how colorism manifests in the lives of Afro-Latino collegians. In drawing attention to a population that has been rendered invisible in higher education, findings from this study guide implications for future research and practice for higher education and student affairs leaders.
"This compelling study examines the visibility and marketability of Latina actors and characters in tabloids, blogs, "telenovelas," movies, and music... [Molina-Guzman] argues that deviation from prescribed images unsettles mainstream viewers, whose notions of identity/sexuality reject foreign or exotic representations".
In this essay, I critically examined how the Chinese illegal immigrants were represented by the U.S. newspapers between the years 2000 and 2010. Four themes were unearthed. These four themes are 1) New Discourse of Racial Binary in Illegal Immigration, 2) Illegalizing "the Other", 3) Victims of Chinese Culture, Politics and "Compatriots", 4) Representation of Authentic Chinese Culture. The critical elaboration of these four themes demonstrated how the news discourse constructed Chinese illegal immigrants as the "outsiders within". Ultimately, this project served two purposes. One was to "fill" the missing gap left unattended by the prior studies on Chinese immigrants. The other was to re-conceptualize the media representation of the "other" as a "contested and multilayered" process of excluding "the displaced outsiders", who are struggling along the lines of social and national margins. It is through the critical exploration of the multiple theoretical perspectives and the ideological assumptions supported by the news texts that enables the disclosure of the dominant cultural discourse and politics of the host society.
The contemporary Latina/o media landscape is a diverse, complex, and constantly shifting terrain. Three key factors have played a role in redefining Latina/o media and the scholarship that surrounds it: (1) the demographic shifts within the U.S. Latina/o population; (2) the global visibility of Latina/o performers and cultural forms; and (3) the profitability of dual-market transnational media. Consequently, once predominantly homogenous urban media markets such as Los Angeles, Miami, and New York are now increasingly defined by the heterogeneity of their Latino populations. Latina/o musicians such as Marc Anthony and Shakira move easily, albeit problematically, across national, racial, and ethnic borders. Emerging hybrid media genres such as Reggaeton and television programs such as Ugly Betty are popular across diverse linguistic, ethnic, racial, and gender categories. Additionally, the successful marketing of Latinas/os as a commodity audience is drawing unprecedented attention from both general-market and Spanish-language media. The chapter begins with a brief overview of the U.S. Latina/o media and contemporary changes within that landscape. Next, it briefly outlines traditional academic approaches to studying U.S. Latina/o media and discusses the contributions of contemporary Latina/o critical media studies to understanding the industry's dynamic shifts. Finally, the chapter concludes by discussing theoretical strategies for future research.
Cultural Diversity and Global Media explores the relationship between the media and multiculturalism. Summarises and critically discusses current approaches to multiculturalism and the media from a global perspecive Explores both the theoretical debates and empirical findings on multiculturalism and the media Assumes the new perspective of mediation of cultural diversity, which critically combines elements of previous theories in order to gain a better understanding of the relationship between the media and cultural diversity Explores media 'moments' of production, representation and consumption, while incorporating arguments on their shifting roles and boundaries Examines separately the role of the internet, which is linked to many changes in patterns of media production, representation and to increased possibilities for diasporic and transnational communication Contains pedagogical features that enable readers to understand and critically engage with the material, and draws upon and reviews an extensive bibliography, providing a useful reference tool.
In the 1970s, the American Census Bureau first used the term Hispanic to refer to individuals residing in the USA although born in or descending from Spanish-speaking countries. This paper explores the use of Hispanic and Latino (and to a lesser extent Latin American) in US official documents and quality news outlets within the framework of narrative theory. The Census Office documents and seven national newspapers, namely, The New York Times, The Washington Post, The Boston Globe, The Miami Herald, The Arizona Republic, San Francisco Chronicle and Los Angeles Times will be analysed. They represent the areas with large immigrant populations, on the one hand, and with descendants of Spanish-speaking peoples on the other. The paper will explore (1) the evolution of these terms in official use, that is, the US Census Office reports, (2) whether quality news media use of the terms has evolved in a similar way to official use or whether there is some degree of divergence between the two, (3) whether we can talk about regional variation and, finally, (4) whether the representation of the Hispanic minority in quality news media is largely negative, as it has been claimed for the media in general. The findings suggest that while official use is relatively stable, quality media use of the terms is largely unpredictable, although they do not seem to project a negative image of the minority.
This article analyzes textual constructions of Black Latinidad and negotiations of ethnic and racial identity in the cultural commodification of Black Latina/o actors. It documents the ambivalent process of cultural commodification for producing polysemic texts of Black Latinidad that counter dominant constructions of Latinidad as "brown" and exists in tension with dominant understandings of US Black identity as static and unchanging. By expanding on research (Balaji, 2009; Saha, 2012; Watts & Orbe, 2002) that positions actors as willing participants in the production and distribution of themselves as commodities that may accumulate capital, this article situates cultural representations of Black Latinidad in mainstream film and television to articulate the conditions under which Black Latina/o actors gain value as commodities through the accumulation of racial capital.
Issues related to immigration have long been present in U.S. television and print news cycles. In recent years, those issues have become more prevalent in U.S. popular culture, especially in television and popular music. In this essay, we analyze three representative and diverse examples from U.S. popular media to better understand the representation of immigrant narratives: ABC's Ugly Betty, the Chicano band, Los Lobos's 2006 album, The Town and the City, and CNN Presents “Immigrant Nation.” From our analysis, we advance three interconnected arguments: First, personalized narratives of the immigrant experience reify stereotypes through accumulation and repetition that contributes to the construction of border spectacle. Second, audiences interpret individualized accounts through ambivalent readings that function to entrench audience beliefs and attitudes about immigrants and immigration which create unmotivated sympathies. Finally, individual accounts humanize issues related to immigration, but they also individualize responsibility and absolve collective responsibilities by emphasizing immigrants’ hard work and pursuit of the U.S. American Dream.
The television landscape has expanded to include an ever-increasing crop of culturally themed programs aimed at the Latina/o audience. Assumptions about the audience have shaped this trend, resulting in questions about the effectiveness of niche programming to satisfy viewer taste. This project investigates LatiNation with specific focus on the differences in the reception process based on participants' connection to their ethnic identity. In-depth interviews were conducted with self-identified Latina/o students who were also given a survey with scaled items to measure their connection to their ethnic identity. In general, the findings indicate that audience members produce varied readings of the text showing the participants actively negotiate identity by using LatiNation as an opportunity to both embrace and critique Latinidad.
In this essay I argue that Lila Downs’ music persona represents an integrative approach between music, culture and ethnic identity, and thus provides scholars with an important site to study Latinidad from a more expansive transnational perspective. Central to this essay is the discussion of Downs’ use of the huipil, as fashion garment and as a metaphor, to explain her creative blending of ethnic identity and artistic performance. In so doing, indigeneity, folklore and authenticity gain relevance as she adopts and manipulates hybrid cultural and musical forms for transnational audiences beyond the confines of the national. That is, Downs embodies the politics of location and dis-location, immigration, crossing and transgressing borders that are also part of broader Latina/o experience.
Cultural authenticity is a fluid construct in an era in which globalization is celebrated and vilified. The author examines how cultural authenticity is discursively ascribed, legitimized, and negotiated among creators and viewers of the short-lived NBC series Outsourced within the overlapping contexts of globalization, outsourcing, and fake Indian accents. Findings indicate that authenticity materialized around country of origin, and the author explores whether cultural artifacts conformed to iconic signifiers. The implications are contextualized within Arjun Appadurai's globalization framework.
At the turn of the century, data from the 2000 U.S. Census announced an emergent population of 35 million Latina/os, and focused the attention of journalists, media producers, politicians, and marketing demographers on Latina/o individuals and Latinidad as a coherent structure of feeling that might unite a disparate group who share a common ancestry. Since then, Latina/os have garnered an extraordinary amount of attention from cultural producers and audiences alike. This essay conducts a dual analysis of the textual and extratextual features of Americanos: Latino Life in the United States/La Vida Latina en Los Estados Unidos, a coproduction of Olmos Productions, Time Warner, and the Smithsonian Institution, that presents a generous vision of both Latina/os and America. While Americanos does indeed display affirmative representations of Latina/o life, the conditions of its production yield a text that adheres to the dominant ideologies of multiculturalism and the American Dream. By articulating Latinidad without oppositional politics, Americanos cannot fully address the relations of power that define both lived experience of Latinidad and minority representation in the United States.
This article explores the contradictory positionings of two significant Latin Americans, Ché Guevara and Frida Kahlo, through reflection on their historical, ideological, and folk meanings. Frida and Ché have ceased to be historical figures as their images have become commodified as part of the rampant consumerism that typifies modern global capitalism. I argue that Ché and Frida have been transformed into secular icons, in particular by the Latin American left, owing largely to their tragic death/lives which reflect the martyrdom of Catholic saints. As pop cause célèbres, consumed by audiences that care little to understand the complexities of their ideologies, desires, and agendas, their images have been appropriated and marketed by the fashion, novelty, and cottage industries. Frida and Ché now function as fetishized commodities used as stylistic elements designed to sell a range of consumer goods, yet remain powerful icons that challenge the hegemony of globalization, patriarchy, and, in the case of Frida, heteronormativity.
Purpose
The purpose of this paper is to define the construct authenticity and its dimensions and to propose an index to measure levels of authenticity in organisational messages and actions, as well as perceived authenticity from the stakeholders' perspective.
Design/methodology/approach
The paper takes the form of a comprehensive literature review.
Findings
The construct authenticity and its dimensions are defined from a multidisciplinary perspective, including literature from advertising, communication studies, marketing, and public relations.
Research limitations/implications
Items for an authenticity index are proposed. Such a scale could be used to measure the effectiveness of public relations efforts and techniques and, therefore, the perceived authenticity of organisations, including its actions, operations, product, services, and spokespeople in the mind of stakeholders.
Practical implications
The consistency between authentic claims, offerings, and promises and the management philosophy and behaviour of organisations would determine the effectiveness of public relations efforts assessed by measuring the responses, actions, and behaviours of stakeholders.
Social implications
The evenness between the genuine nature of organisational offerings and their communication is crucial to overcome the eroding confidence in major social institutions. Authenticity claims must capture the experiences, aspirations, and expectations of the involved segment of society that organisations aim to engage; otherwise, a clash of values may occur.
Originality/value
The paper provides ideas for measuring authenticity in organisational messages and actions as a guide to best ethical practices and support for teaching the value of the studied construct.
The complexity of globalization challenges our understanding of culture and identity as these are reshaped by dominant/marginal identity relations that become increasingly fluid across transnational space. Ex/neo-colonial South Korea, growing in economic power and transnational cultural influence mostly in Asia, has become a host to Asian immigrants. Accompanying the changing ethnoscape, media discourse constitutes (more than reflects) immigrant identities and their experiences. Study of discourse in two South Korean films about marriage migrant women reveals constructions that serve new nation-building policies in the global era while maintaining traditional assumptions about, and realities of, gender, race/ethnic, and class relations.
This essay argues that the similarities among US Latinos that have emerged from their status as historical minorities and racialized subjects can be deployed to understand the sites in which Latinos from different national groups identify and disidentify with each other. Instead of rejecting Latinidad as an exclusively hegemonic concept that homogenizes Latinos, Latinidad can be reclaimed as a site for exploring and further understanding the affinities and analogies of historical minorities as (post)colonial subjects. By looking at sites where Latinidad is constituted, such as the case of Jennifer López becoming Selena for the Gregory Nava film, critics can tease out some of the analogous forms of resistance that bring together a Boricua from the Bronx and a Tejana singer. In addition, the issue of the phenotype, style, fashions and body of both stars is also discussed in terms of a Latina feminism.Latino Studies (2003) 1, 90105. doi:10.1057/palgrave.lst.8600016
meXicana Encounters charts the dynamic and contradictory representation of Mexicanas and Chicanas in culture. Rosa Linda Fregoso's deft analysis of the cultural practices and symbolic forms that shape social identities takes her across a wide and varied terrain. Among the subjects she considers are the recent murders and disappearances of women in Ciudad Juárez; transborder feminist texts that deal with private, domestic forms of violence; how films like John Sayles's Lone Star re-center white masculinity; and the significance of la familia to the identity of Chicanas/os and how it can subordinate gender and sexuality to masculinity and heterosexual roles. Fregoso's self-reflexive approach to cultural politics embraces the movement for social justice and offers new insights into the ways that racial and gender differences are inscribed in cultural practices.
There is a lack of information on how Latinas consume popular culture in general and how they interact and respond to Spanish-language media in particular. Studies on representation and stereotyping in the Spanish-language media as well as audience research within the Latino community are recent phenomena in the Latino media scholarship. This article examines how a group of 27 immigrant and nonimmigrant Latinas from the city of Austin, Texas, evaluate and negotiate women’s representations in Univision and Telemundo, the two largest Hispanic networks in the United States. Women of diverse income levels participated in a series of 1 to 3 in-depth interviews between 1999 and 2002. The main focus of the study is on the respondents’ evaluations of gender, race and class representations in the talk shows El Show de Cristina and Laura en América. Interview transcripts reflected Latinas’ ambivalent and conflicted relationship with the television programs. Latinas felt attacked, insulted, offended and embarrassed by women’s portrayals in certain entertainment and humor shows. The respondents used their criticism of women’s sexualization on Spanish-language television as a strategy to escape labels and stereotypes ascribed to Latinos by the majority groups. Women used class as a marker of difference and distinction among different groups of Latinas. They also challenged the concept of Latino cultural unity—Latinidad—so promoted by the networks and in general disagreed with Cristina and Laura’s declared philosophy of Latino empowerment. Two concepts emerged from the relationship Latinas experienced with the Hispanic TV: ambivalence and distinction. These results are discussed in terms of Pierre Bourdieu’s theory of practice.
In this essay I examine the coverage of U.S. Latino news by the North Carolina‐based Raleigh News & Observer to bring to light the latent construction of Latinos and their current affairs. Drawing on feminist and postcolonial theorizing, I argue that the coverage genders Latino news as feminine and (re)produces the stereotype of Latinos as an underclass of peons. The study combines content and textual analyses to look at four years of coverage (1992–1995). At the heart of the analysis are the workings of the techniques, which I call newsroom processes of genderization, that enable the newspaper to operate as a technology of gender, race, and class.
This article examines the interconnected discourse of gender and Latinidad circulated through the Elián González national US news coverage by focusing on the journalistic images and narratives circulated about Cuban women. It theorizes that these stories mediate public understanding of Cuban politics and identity specifically, and Latino/a politics and identity more generally, in ways that are both gendered and racialized. The study concludes that: (1) journalistic texts focusing on Cuban women are informed by pre-existing Latina archetypes; (2) by foregrounding Cuban women within the journalistic coverage, historically established ethnic-specific images of US Cuban immigration and US Cuban exile identity are problematized; and (3) the cumulative gendering of the Elián González news story contributes to the continuing shift in the cultural and symbolic status of the Cuban exile community within the contemporary US imaginary about Latino/as and Latinidad.
Our capacity to form secure attachments and to form positive idealizations and identifications with valued others appears to positively impact our subsequent construction of our sense of self, the world, and creative expression. In attempting to explain Frida Kahlo's meteoric rise to cultural icon status following her death, I examined the kinds of idealizations and identifications the artist forged within two spheres of social relationships-intimate and public. Within the intimate sphere, I examined the kinds of idealizations and identifications Frida Kahlo herself established with significant others. Within the public sphere, I described the kinds of idealizations and identifications admiring others generated about her. [[In a previous paper that appeared in this journal, I described in some detail the intimate sphere of Frida Kahlo's social relationships, particularly the kinds of idealizations and identifications Frida Kahlo forged with significant others during childhood and in adulthood, and how these identifications came to influence her construction of her sense of self and her representation of these relationships in her artwork. The current paper focused on the ways two political groups of artists living in this country during the 1970s came to use Frida Kahlo as a role model to validate their resistive style of political activism as well as gendered and ethnic collective identities. [[In this paper, I also made a case for viewing cultural icons as transitional objects that possess certain unique characteristics, including the capacity to soothe our existential anxiety when facing critical life transitions. Though the prototype for the creation of a cultural icon may originate with the child's ability to create the 'first not me' possession, our engagement in illusion making continues throughout our lives, particularly during times of turmoil when our need for solace and comfort is great. Though in adulthood the illusory objects we create may assume more complex forms, they are shaped by the idealizations, identifications and ideational principles we construct and internalize while interacting with valued others and also reflect the social and political circumstances of the culture and time in which we live. [[The kinds of personages we are likely to elevate to cultural icon status tend to be exceptional in some way and to possess particular qualities admirers regard hightly. The person selected for exaltation to icon status must also be viewed by admirers as a defender of their culture. Because the life of a cultural icon oscillates between two poles experience, symbolic and material, its existence is secure just as long as it continues to retain its power to act as a magnet of symbolic meaning for belivers. When it no longer serves as a repository for such meaning, it will simply cease to exist.
This article examines television and print biographies of television talk show host and producer Oprah Winfrey. Conventional biographical narratives construct a token “Oprah” persona whose life story resonates with and reinforces the ideology of the American Dream, implying the accessibility of this dream to black Americans despite the structural economic and political barriers posed in a racist society to achievement and survival. The article develops theories of tokenism, biography, autobiography, and hegemony to analyze both racial and gendered dimensions of tokenist biography. It describes tokenism as a rhetorical mechanism of liberal hegemony with regard to race and class. The essay challenges recent redefinitions of hegemony as happy “concordance” and suggests that critics cannot assume that black stars and texts automatically represent difference and resistance in popular culture.
The article compares the media personas and musical performances of two Puerto Rican pop megastars, the Nuyorican Marc Anthony and the island-born Ricky Martin. I argue that both artists actively perform a Latinidad that is consumer-oriented, in which Puerto Ricanness, or better put, their performance of Puerto Ricanness, is fundamental. I relate the artists' commercial success to the general appeal to clichéd visions of local, exotic flavor, in Martin's case, and a weak "Puerto Rican-American" hyphen in Marc Anthony¿s. I also consider the impact of marketing categories on the music itself. Drawing on previous work by scholars in Puerto Rican/Latino Studies, I attempt to make a contribution toward a critique of "consumer ethnicities" and "mapping latinidad" in the U.S. I examine the media coverage during 1999 by drawing on articles in the mass media and on various TV specials aired during 1999 and early 2000. 1 also provide a brief analysis of the crossover CDs that were at the heart of this pop phenomenon.
Biopower, reproduction, and the migrant woman's body
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Inda, J. (2002). Biopower, reproduction, and the migrant woman's body. In A. Aldama & N. Quiñ (Eds.), Decolonial voices: Chicana and Chicano cultural studies in the 21st century (pp. 98 Á112). Bloomington, IN: Indiana University Press.
Latinos, Inc.: The marketing and making of a people Frida Kahlo: The creation of a cultural icon. The Arts In Psychotherapy
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Dá, A. M. (2001). Latinos, Inc.: The marketing and making of a people. Berkeley, CA: University of California Press. Dosamantes-Beaudry, I. (2002). Frida Kahlo: The creation of a cultural icon. The Arts In Psychotherapy, 29, 3Á12.
When was the post-colonial? The post colonial question (pp. 242 Á261)
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Hall, S. (1996). When was the post-colonial? In L. Curti & I. Chambers (Eds.), The post colonial question (pp. 242 Á261). London: Routledge.
The sociology of news Talking visions: Multicultural feminism in a transnational age
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Transatlantic inscriptions: Desire, diaspora, and cultural citizenship Talking visions: multicultural feminism in a transnational age
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Joseph, M. (1998). Transatlantic inscriptions: Desire, diaspora, and cultural citizenship. In E. Shohat (Ed.), Talking visions: multicultural feminism in a transnational age (pp. 357 Á359).
Are all Latins from Manhattan?: Hollywood, ethnography, and cultural colonialism
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Black women as cultural readers
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Stardom: Industry of desire
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Gledhill, C. (1991). Stardom: Industry of desire. London: Routledge.
Las dos Fridas: Hollywood's long, slow race to make the definitive Frida Kahlo film
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Reynolds, J. (2001, July 31). Las dos Fridas: Hollywood's long, slow race to make the definitive Frida Kahlo film. El Andar, p. 38.
From hybridity to policy: For a purposeful cultural studies
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The Kahlo cult. Artnews , 126 Á133 Women in Mexico: A past unveiled . Austin, TX: University of Texas American factfinder A Latina in the land of Hollywood and other essays on media culture
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Introduction Chicana feminist thought: The basic historical writings (pp. 1 Á13) Hybrid cultures: Strategies for entering and leaving modernity
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English is broken here: Notes on cultural fusion in the Americas
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Fusco, C. (1995). English is broken here: Notes on cultural fusion in the Americas. New York: New Press.
s last lovers, was named by him as the trustee of the Diego Rivera Foundation. The Frida Kahlo Museum is part of the Rivera Foundation
- Olmedo
Olmedo, one of Rivera's last lovers, was named by him as the trustee of the Diego Rivera Foundation. The Frida Kahlo Museum is part of the Rivera Foundation. She died in 2005.
Impossible bodies: Femininity and masculinity at the movies
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Hulmlund, C. (2002). Impossible bodies: Femininity and masculinity at the movies. London: Routledge.
New Museum of Contemporary Art Multiculturalism, postcoloniality and transnational media
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Global Hollywood . London: British Film Institute Gendering Latinidad through the Eliá news discourse about Cuban women Brain, brow or bootie: Iconic Latinas in contemporary popular culture
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Shopping for identity: The marketing of ethnicity
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Halter, M. (2000). Shopping for identity: The marketing of ethnicity (1st ed.). New York: Schocken Books.
Interdependence, inequality, and identity: Linking Latino and Latin American studies Borderless 250 I. Molina Guzmá Downloaded by
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Julie Taymor (Interview) Conducted at the American Film Institute
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Dynamic portrait AMC and directed by Julie Taymor, offers a vibrant vision of Mexican artist Frida Kahlo American Cinematographer: The International Journal of Film and Digital Production Techniques Introduction to Chicana/o Latina/o cultural studies: Transna-tional and transdisciplinary movements
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Bosley, R. A. (2002). Dynamic portrait: ''Frida,'' photographed by Rodrigo Prieto, AMC and directed by Julie Taymor, offers a vibrant vision of Mexican artist Frida Kahlo. American Cinematographer: The International Journal of Film and Digital Production Techniques, 83(10), 34 Á38, 40 Á42, 44 Á47. Chabram-Dernersesian, A. (1999). Introduction to Chicana/o Latina/o cultural studies: Transna-tional and transdisciplinary movements. Cultural Studies, 13 (2), 173 Á194.
Frida de Julie Taymor: El color de la pasion
- R Jordan
Jordan, R. (2002, November 7). Frida de Julie Taymor: El color de la pasion. El Nuevo Herald, p. 17.
Globalization and its discontents Salma le dio la bienvenida a'Frida'. La Opinion
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