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One of the most influential figures in ethnic media studies takes direct aim at how Chicano filmmaking has been represented in the history of media in the United States. Shot in America tackles seemingly intractable dilemmas involving the political and market functions of film and TV to provide a definitive response to the debates over cultural and racial identity that have embroiled media and cultural studies over the past two decades. Noriega offers a compelling and detailed description of an enormous body of work by Chicano media makers against the backdrop of Chicano social movements, politics, and activism over a forty-year period—an extraordinary exposition of the civil rights movement, media reform activities, and public affairs programming that constitutes the prehistory of independent and minority cinemas. Noriega reveals the ways in which Chicano and other minority protests both emerged within and were regulated by the very institutions that excluded them. Shot in America is a study with broad implications for our understanding of cultural politics and the entertainment industries.

Table of Contents

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  1. Cover
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  1. Title Page, Copyright, Dedication
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  1. Contents
  2. pp. ix-x
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  1. Preface
  2. pp. xi-xiv
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  1. Acknowledgments
  2. pp. xv-xx
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  1. List of Acronyms and Abbreviations
  2. pp. xxi-xxii
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  1. Introduction
  2. pp. xxiii-xxxiv
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  1. 1. "No Revolutions without Poets": Chicano Poetic Consciousness
  2. pp. 1-15
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  1. 2. Setting the Stage: Social Movements, the State, and Mass Media
  2. pp. 16-27
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  1. 3. "The Stereotypes Must Die": Social Protest and the Frito Bandito
  2. pp. 28-50
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  1. 4. Regulating Chico: The Irony of Approaching a State-Supported Industry
  2. pp. 51-74
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  1. 5. Grasping at the Public Airwaves: The FCC and the Discourse of Violence
  2. pp. 75-99
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  1. 6. Training the Activists to Shoot Straight: A Political Generation in U.S. Cinema
  2. pp. 100-130
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  1. 7. "Our Own Institutions": The Geopolitics of Chicano Professionalism
  2. pp. 131-164
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  1. 8. This Is Not a Border: From Social Movement to Digital Revolution
  2. pp. 165-194
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  1. Epilogue
  2. pp. 195-202
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  1. Notes
  2. pp. 203-250
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  1. Filmography
  2. pp. 251-256
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  1. Bibliography
  2. pp. 257-286
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  1. Index
  2. pp. 287-306
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  1. About the Author
  2. p. 307
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