Border Bandits: Hollywood on the Southern Frontier

Notes

197 notes preface 1. Michael McCaul, “Investigations Border Report,” U.S. House of Representatives Web site. 2. A Day without a Mexican, dir. Sergio Arau, official movie Web site. 3. Sergio Arau and Yareli Arizmendi, “Un cambio social de gran magnitude ” in Un día sin inmigrantes: Quince voces, una causa, ed. Gina Montaner, 23–30. 4. Nicolás Kanellos, Thirty Million Strong: Reclaiming the Hispanic Image in American Culture, vii. introduction 1. “Tunnels Show Dangers on Porous U.S.-Mexican Border,” New American , 7. 2. Ibid. 3. Norma Iglesias, “Reconstructing the Border: Mexican Border Cinema and Its Relationship to Its Audience” in Mexico’s Cinema: A Century of Film and Filmmakers, ed. Joanne Hirshfield and David R. Maciel, 233. 4. Alex M. Saragoza, “The Border in American and Mexican Cinema,” Aztl án, 156. 5. María Herrera-Sobek, “Border Aesthetics: The Politics of Mexican Immigration in Film and Art,” Western Humanities Review, 63. 6. Ibid. 7. Some of the production dates of these films do not correspond to those in the filmography. This could be due to redistribution of the same titles by different companies. 8. María Herrera-Sobek, “The Corrido as Hypertext: Undocumented Mexican Immigration Films and the Mexican/Chicano Ballad” in Culture Across Borders: Mexican Immigration and Popular Culture, ed. David R. Maciel and María Herrera-Sobek, 227–258. 9. See Charles Ramírez Berg, “Ethnic Ingenuity and Mainstream Cinema: Robert Rodríguez’s Bedhead (1990) and El Mariachi (1993)” in Latino Images in Film: Stereotypes, Subversion, Resistance, 225–227. 10. David R. Maciel and María Rosa García-Acevedo, “The Celluloid Immigrant : The Narrative Films of Mexican Immigration” in Maciel and HerreraSobek , Culture Across Borders, 149–202. 197 11. Iglesias, “Reconstructing the Border,” 234. 12. Herrera-Sobek, “Border Aesthetics,” 60–71. 13. See Allen L. Woll, The Latin Image in American Film. 14. Woll, The Latin Image, 13–14. 15. Arnoldo De León, They Called Them Greasers: Anglo Attitudes toward Mexicans in Texas, 1821–1900. 16. De León, They Called Them Greasers, 16. 17. Luis Reyes and Peter Rubie, Hispanics in Hollywood: A Celebration of 100 Years in Film and Television, 5. 18. Quoted in Steven W. Bender, Greasers and Gringos: Latinos, Law, and the American Imagination, 55. Bender notes that this anti-loitering law created a precedent for contemporary curfew statements and ordinances that use racially neutral language to target racially coded groups and activities. 19. Charles Ramírez Berg, “Stereotyping in Films in General and of the Hispanic in Particular” in Latin Looks: Images of Latinas and Latinos in the U.S. Media, ed. Clara E. Rodriguez, 113. 20. Recently, in one of the first depictions of female bandits, the film Bandidas (2006) with Spanish actress Penélope Cruz and Mexican Salma Hayek portrays a couple of female social bandits in turn-of-the-century Mexico who rob from the rich to aid the poor. 21. Rosa Linda Fregoso, MeXicana Encounters: The Making of Social Identities on the Borderlands, 128. 22. See Ramírez Berg, “Stereotyping in Films,” 113. 23. Eric Hobsbawm, Bandits. See also María Herrera-Sobek’s discussion of the bandit in Northward Bound: The Mexican Immigrant Experience in Ballad and Song. 24. The name has been used by a punk rock band of immigrants who reclaimed the title for a bad boy outlaw aesthetic. 25. Joseph Nevins, Operation Gatekeeper: The Rise of the “Illegal Alien” and the Making of the U.S.-Mexico Boundary, 79. 26. The plot was rehashed yet again in 1941 in a film of the same name. 27. Walter Prescott Webb, The Texas Rangers: A Century of Frontier Defense , 11. The “Indian warrior, Mexican vaquero, and Texas Ranger” were each the respective “representative fighting man” for the “three races that were to struggle for supremacy” in Texas. 28. The term “Native American” eliminates the colonial implications of Christopher Columbus’ misnaming of the indigenous peoples of the Americas as “Indians” and it specifies natives of the Americas over those of India. However , in the pre-1960s history and popular culture of the Southwest, the civil rights era term “Native American” seems ahistorical. I use the term “Indian” to describe characters in the terms used within the film or historical texts in which they appear; however, I use the term “Native American” in all other instances. For more on this see Fergus M. Bordevich, Killing the White Man’s Indian: Reinventing Native Americans at the End of the Twentieth Century...