Doing the Samba on Sunset Boulevard

Author(s):  
Walter Aaron Clark

This chapter focuses on Latin American singer and actress Carmen Miranda, who helped create an all-purpose, homogeneous image of Latin Americans, their culture, and especially their music. Hollywood used Miranda as a do-all prop in dramatic settings as diverse as New York, Rio de Janeiro, Buenos Aires, Havana, and Mexico. The resulting conflation of costumes, instruments, musical genres, and languages is highly entertaining on one level but pernicious and (at the time) politically counterproductive on another. The partial coverage by US news media of events in South America left a gap that is “often filled by fictional representations in motion pictures and television shows. Film, in particular, has played a major role in shaping modern America's consciousness of Latin America.”

1954 ◽  
Vol 20 (01) ◽  
pp. 72-74
Author(s):  
Erik K. Reed

In a previous communication (American Antiquity 19-3, January 1953, pp. 290-91), I noted significant items in this field during the period 1948-1951, with probably incomplete coverage for the first half of 1952. Additions to that bibliography and this one will be appreciated by the present writer and by the management. First of all, in supplementation for 1952, must be mentioned the valuable compilation, with year-by-year general trend statements (taken from the Handbook of Latin American Studies) and a subject index: T. D. Stewart, A Bibliography of Physical Anthropology in Latin America: 1937-1948, published by the Wenner-Gren Foundation, New York, 1952.


1995 ◽  
Vol 37 (3) ◽  
pp. 519-540 ◽  
Author(s):  
Jeffrey D. Needell

The Parisian Faubourg Saint Germain and perhaps the Rue de la Paix and the boulevards seemed the adequate measure of luxury to all of the snobs. The old colonial shell of the Latin American cities little approximated such scenery. The example of Baron de Haussmann and his destructive example strengthened the decision of the new bourgeoisies who wished to erase the past, and some cities began to transform their physiognomy: a sumptuous avenue, a park, a carriage promenade, a luxurious theater, modern architecture revealed that decision even when they were not always able to banish the ghost of the old city. But the bourgeoisies could nourish their illusions by facing one another in the sophisticated atmosphere of an exclusive club or a deluxe restaurant. There they anticipated the steps that would transmute “the great village” into a modern metropolis.—José Luis Romero


Sign in / Sign up

Export Citation Format

Share Document