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The servile quality of this white-influenced stereotype is further reinforced by the idea of Mexicans being 'sold' like used car models -- this shows how dehumanized Mexican-Americans are in white society, as they are treated like laborers, not as individuated human beings, and how the concept of a type of Mexican is indeed a 'model' -- another word for a stereotype.
Johnny embodies the fears of white society -- that Latino men are more sexualized than white men, and more violent. The Mexican-American is a Republican fantasy, a man who can eat Mexican food at a political meeting for show, but prefers sipping martinis. And the migrant is another fantasy, a man who does not mind his submissive lot in life and is glad for what he is given by whites. The constructed nature of these types is shown by the plot of the play, as a Hispanic secretary...
This demonstrates political tokenism at its worst, and the hypocrisy of people who claim to be 'friends' of Mexicans but do not really seek to understand them as culture, or as people.
As the play wears on, and the stereotypes grow more exaggerated, the audience is forced to question their assumptions and wonder if they see Mexicans in the same light as they are being portrayed. They are forced to look behind the stereotypes after watching the play and see humanity behind the dehumanized 'model.' By watching the play the viewer his forced to confront his or her own assumptions, and to challenge the models in his own mind, rather than pretend such stereotypes do not exist.
West Side Story Like all musical films, the West Side Story relates to a production where the characters sing songs and sometimes dance too, all with the view of developing the characters and advancing the plot of the film However, the movie brings to the fore various special features, which notably set it out as a historical document. The era in which the film was produced is also of massive importance considering
West Side Story is a film about two rival gangs, the Jets and the Sharks. The Jets are American and the Sharks are of Puerto Rican descent. The movie has a Romeo and Juliet storyline -- however, in West Side Story the two lovers, Tony and Maria, are from two different ethnic groups as opposed to two sparring families in Romeo and Juliet. It is ethnocentrism that stands in the
West Side Story Social Tension and Doomed Romances in West Side Story Hundreds of years after Shakespeare's penning of Romeo and Juliet, the notion of warring families and star-crossed lovers has not waned in popularity. This is evident in the Academy Award-winning 1961 film West Side Story, which, stripped of its musical interludes and numerous dance numbers, becomes the adaptation of Shakespeare's romantic tragedy in its barest bones. Of course, West Side
We see how their membership in the class and racial group has power over their attitudes and actions. At the time of this film, they were contemporary, but the film was true to the times, so they are now historically correct also. The social mores and customs are well depicted in the forms of dances and music and in the morality of the time. Maria's dress for the dance
West Side Story, filmed in 1961, was one of the most ground-breaking works not only in terms of subject and genre, but also in terms of the boundaries it broke with its musical scores and choreography. Indeed, the film's dance sequences often form part of its plot. Its musical scores depict the deep distrust and underlying violence in the uneasy truces between the street gangs whose members form the basic
West There are three major religions that have established themselves in China: Confucianism, Taoism, and Buddhism; and of the three, only Buddhism is not indigenous to China. Buddhism found its way to China along the Silk Road, brought by missionaries from India. For centuries, the three religions have co-existed with many Chinese adopting elements of each in their daily lives. Whatever similarities, or symbiotic elements each contains, the three religions