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In the 1920s and 1930s a uniquely Mexican American entertainment
culture flourished across the southwestern United States.
Spanish-language newspapers offered theater listings, coverage of
favorite performers, cultural criticism, and serialized novels that
thematized entertainment culture. Gabriel Navarro was a key figure
in this milieu. "There Are No Hispanic Stars!" assembles the
novellas and articles that represent his extensive body of film and
cultural criticism. Covering a range of topics from the lives of
Hollywood's well-known Mexican actors to the plight of Mexican
extras and the formation of amateur film clubs, Navarro allowed his
readers to participate in the construction of a Latina/o Hollywood.
At the same time, he urged Hollywood not to overlook its Latina/o
audiences. Together, these writings present a lively look at the
film culture that emerged in the Southwest's Mexican immigrant
community. The introduction situates Navarro's writing within the
context of Mexican-oriented journalism and cultural politics of the
era.
B is for Bow, C is for Cat and D is for Downward dog in this
beautiful ABC book designed to teach very young children the basic
concepts of yoga. Baby Loves is a new range of giftable preschool
ABC books that taps into the trends that matter. Stunningly
illustrated with a cut-to-white aesthetic, each pocket-sized book
is a perfect introduction to a key topic for babies.Â
There's the trend: "Plants have exploded in popularity," notes
Apartment Therapy. And nylon.com declares: "Millennials are
obsessed with houseplants," while the hashtags #crazyplantlady,
#iloveplants, and #plantlife have more than 2 million tags on
Instagram combined. And then there's the joy: For the
plant-obsessed woman of any age, this little illustrated book
celebrates the delightfully quirky habits that accompany botanical
passion, even addiction. Like seeing every bare surface as a reason
to buy a new succulent, fern, or pileum. Or, when planning a
fabulous vacation, wondering: But who will water my plants?
Throughout there are humorous quotes: "I don't need therapy, I talk
to my plants." Sweet puns: "Aloe you vera much." A quiz: Are you a
good plant mum? Plus, the telltale signs that you're a crazy plant
lady: Even your office is a houseplant jungle. Author-illustrator
Isabel Serna's charming art is as bright and vibrant as the pops of
colour that plants bring to your home, her text clearly inspired by
being a crazy plant lady herself-put it together, and here is a
perfect present for housewarmings and a great add-on to a gift of a
potted plant or ceramic planter
In the 1990s, American civil society got upended and reordered as
many social, cultural, political, and economic institutions were
changed forever. Pretty People examines a wide range of Hollywood
icons who reflect how stardom in that decade was transformed as the
nation itself was signaling significant changes to familiar ideas
about gender, race, ethnicity, age, class, sexuality, and
nationality. Banderas became bona fide movie stars who carried
major films to amazing box-office success. Five of the decade's top
ten films were opened by three women-Julia Roberts, Jodie Foster,
and Whoopi Goldberg. "Chick flick" entered the lexicon as Leonardo
DiCaprio became the "King of the World," ushering in the cult of
the mega celebrity. Tom Hanks and Tom Cruise defined screen
masculinity as stark contrasts between "the regular guy" and "the
intense guy" while the roles of Michael Douglas exemplified the
endangered "Average White Male." A fascinating composite portrait
of 1990s Hollywood and its stars, this collection marks the changes
to stardom and society at century's end.
In the 1920s, as American films came to dominate Mexico's cinemas,
many of its cultural and political elites feared that this "Yanqui
invasion" would turn Mexico into a cultural vassal of the United
States. In Making Cinelandia, Laura Isabel Serna contends that
Hollywood films were not simply tools of cultural imperialism.
Instead, they offered Mexicans on both sides of the border an
imaginative and crucial means of participating in global modernity,
even as these films and their producers and distributors frequently
displayed anti-Mexican bias. Before the Golden Age of Mexican
cinema, Mexican audiences used their encounters with American films
to construct a national film culture. Drawing on extensive archival
research, Serna explores the popular experience of cinemagoing from
the perspective of exhibitors, cinema workers, journalists,
censors, and fans, showing how Mexican audiences actively engaged
with American films to identify more deeply with Mexico.
In the 1920s, as American films came to dominate Mexico's cinemas,
many of its cultural and political elites feared that this "Yanqui
invasion" would turn Mexico into a cultural vassal of the United
States. In Making Cinelandia, Laura Isabel Serna contends that
Hollywood films were not simply tools of cultural imperialism.
Instead, they offered Mexicans on both sides of the border an
imaginative and crucial means of participating in global modernity,
even as these films and their producers and distributors frequently
displayed anti-Mexican bias. Before the Golden Age of Mexican
cinema, Mexican audiences used their encounters with American films
to construct a national film culture. Drawing on extensive archival
research, Serna explores the popular experience of cinemagoing from
the perspective of exhibitors, cinema workers, journalists,
censors, and fans, showing how Mexican audiences actively engaged
with American films to identify more deeply with Mexico.
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