Tex{t}-Mex

by
Format: Paperback
Pub. Date: 2006-12-01
Publisher(s): Univ of Texas Pr
List Price: $27.95

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Summary

"Marvels! Rompecabezas! And cartoons that bite into the mind appear throughout this long-awaited book that promises to reshape and refocus how we see Mexicans in the Americas and how we are taught and seduced to mis/understand our human potentials for solidarity. This is the closest Latin@ studies has come to a revolutionary vision of how American culture works through its image machines , a vision that cuts through to the roots of the U.S. propaganda archive on Mexican, Tex-Mex, Latino, Chicano/a humanity. Nericcio exposes, deciphers, historicizes, and 'cuts-up' the postcards, movies, captions, poems, and adverts that plaster dehumanization (he calls them 'miscegenated semantic oddities') through our brains. For him, understanding the sweet and sour hallucinations is not enough. He wants the flashing waters of our critical education to become instruments of restoration. In this book, Walter Benjamin meets Italo Calvino and they morph into Nericcio. Orale! --Daviacute;d Carrasco, Harvard University A rogues' gallery of Mexican bandits, bombshells, lotharios, and thieves saturates American popular culture. Remember Speedy Gonzalez? "Mexican Spitfire" Lupe Veacute;lez? The Frito Bandito? Familiar and reassuring--at least to Anglos--these Mexican stereotypes are not a people but a text, a carefully woven, articulated, and consumer-ready commodity. In this original, provocative, and highly entertaining book, William Anthony Nericcio deconstructs Tex[t]-Mexicans in films, television, advertising, comic books, toys, literature, and even critical theory, revealing them to be less flesh-and-blood than "seductive hallucinations," less reality than consumer products, a kind of "digital crack." Nericcio engages in close readings of rogue/icons Rita Hayworth, Speedy Gonzalez, Lupe Veacute;lez, and Frida Kahlo, as well as Orson Welles' film Touch of Evil and the comic artistry of Gilbert Hernandez. He playfully yet devastatingly discloses how American cultural creators have invented and used these and other Tex[t]-Mexicans since the Mexican Revolution of 1910, thereby exposing the stereotypes, agendas, phobias, and intellectual deceits that drive American popular culture. This sophisticated, innovative history of celebrity Latina/o mannequins in the American marketplace takes a quantum leap toward a constructive and deconstructive next-generation figuration/adoration of Latinos in America.

Table of Contents

Nonhallucinatory
Prefatory Palabras
Backstory: A Decidedly Odd Tale of What Happened
When Hollywood Killed Vaudeville, Postcards Boomed, and the United States Invaded Mexico Seductive Hallucination
Gallery 1
An Interstice. Being the First of Several Summary Interruptions of the Drearily Semantic in Favor of the Deliciously Semiotic, a Frontera of Sorts
Hallucinations of Miscegenation and Murder: Dancing along the Mestiza/o Borders of Proto-Chicana/o Cinema with Orson Welles's Touch of Evil
When Electrolysis Proxies for the Existential: A Somewhat Sordid Meditation on What Might Occur if Frantz Fanon
Her Name at the Tex[t]-Mex Beauty Parlor
Autopsy of a Rat: Sundry Parables of Warner Brothers Studios, Jewish American Animators, Speedy Gonzales, Freddy Loacute;pez, and Other Chicano/Latino Marionettes Prancing about Our First World Visual Emporium
Parable Cameos
Lupe Veacute;lez Regurgitated; or, Jesus's Kleenex: Cautionary, Indigestion-Inspiring Ruminations on "Mexicans" in "American" Toilets Seductive Hallucination
An Interstice the Second. Being a Second Archive of Visual Pathogens
XicanOsmosis: Frida Kahlo and Mexico in the Eyes of
Conclusion: (with apologies to
Notes
Bibliography
Credits
Index
Table of Contents provided by Publisher. All Rights Reserved.

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