Recently, a historic milestone was achieved that is worth mentioning. Blue Beetle (Angel Manuel Soto, 2023) hit the big screens worldwide on August 18th. Unlike other superhero stories, this one was a domestic box office flop for DC and Warner Bros. Discovery; however, it received positive reviews from both moviegoers and critics. Nevertheless, it is relevant to consider the film as an achievement for the Latinx community. Superhero movies are a popular and growing genre in the entertainment industry, often dominating the box office. The film in question is a Latinx production, both behind the cameras and on-screen. Many consider Blue Beetle (Xolo Maridueña) to be the first Latin superhero in the mainstream; however, it's important to note that the Latinx community remembers El Chapulín Colorado (1973-1979) with Chespirito in the leading role.
It is worth acknowledging the definition of Latinxs in the United States. In 1976, a law approved by the American Congress defined the group as 'Americans who identify as Spanish-speaking and trace their origins or ancestry to Mexico, Puerto Rico, Cuba, Central and South America, and other Spanish-speaking countries.' Additionally, Hispanic was considered an ethnicity, not a race. Race pertains to physical characteristics inherited between generations, while ethnicity was more about cultural and linguistic identity in this classification. It's important to note that in 1997, the Latinxs category expanded to include Hispanic. This expansion encompassed twenty hispanophone countries in Latin America but excluded other countries, such as Brazil (which is lusophone), French Guiana and Haiti (French-speaking), Guyana (English-speaking), Suriname (Dutch-speaking) and Caribbean with unofficial languages.
As is widely recognized, Hollywood has consistently played a significant role in shaping Western society's cultural models, all while delivering entertainment value and generating substantial economic profits. It serves as a powerful tool of soft power, exerting influence through cultural expression, social commentary, and its capacity to mirror and influence societal norms and values. One notable example is its role in establishing enduring beauty standards that have become deeply ingrained in Western culture.
The traditional Hollywood heartthrob has typically been portrayed as a white, cisgender, straight male, while the heartbreaker is often depicted as a young, straight, white, thin, and voluptuous woman. These stereotypes have been reflected in leading roles in films for decades. However, this has become a topic of debate in society, and this debate is mirrored in the entertainment industry, where audience demands increasingly emphasize diversity and inclusion. Many contemporary productions are now striving to meet these demands.
In an age where screens are an integral part of our daily lives, proper representation becomes paramount. It serves as a catalyst for building an inclusive and equitable society. Representation holds the power to challenge stereotypes, inspire and empower individuals, drive social change, and foster understanding among people from diverse backgrounds. At its core, storytelling is ingrained in our society, and representation is the lens through which the audience sees themselves in a character, especially if they hail from underprivileged backgrounds or are minorities. This holds particular significance in the United States, a nation with a substantial Latino population due to immigration. According to census projections, by 2025, Latinos are anticipated to comprise 20% of the population, which means that 1 in 5 Americans will identify as Latino.
From the 1890s to the early 1920s, the film industry was far from the solidified institution we know today. It was a period when any ambitious entrepreneur with sufficient capital could establish an independent studio and begin film production. During this era, Latinos, primarily from economically privileged backgrounds and with predominantly Spanish ancestry, were actively involved in filmmaking, both in front of and behind the cameras. The emergence of cinema as a form of entertainment played a pivotal role in perpetuating stereotypes that have endured over time.
One popular genre of silent films that featured the Latinxs community prominently was the Western. These films often depicted weaponized cowboys in desert landscapes, following the doctrine of 'Manifest Destiny.' This 19th-century belief held that Americans were divinely destined to explore and expand across North America, even if it meant the displacement and genocide of Indigenous Native Americans or Mexicans. In these movies, Mexicans were often portrayed as villains and adversaries.
Many Latino characters in early cinema, especially those of Mexican or Mexican American origin, were frequently depicted through harmful stereotypes. They were often portrayed as lazy, untrustworthy, or aggressive bandits on one hand, and overly sexualized 'Latin lovers' on the other. These stereotypes predominantly applied to male characters, with female-driven exceptions. Latino characters were frequently relegated to supportive roles and rarely given substantial, complex character development. This pattern of stereotyping served to 'other' Latinos in comparison to their white counterparts and contributed to the perpetuation of the concept of the 'white saviour.’
In 1921, the debut of the 'Latin Lover' archetype was marked, with its establishment primarily attributed to Spanish-born actor Antonio Moreno in 'The Spanish Dancer' (Herbert Brenon, 1923). However, Hollywood immortalized this trope with the Italian star Rudolph Valentino in 'The Four Horsemen of the Apocalypse' (Rex Ingram, 1921). The 'Latin Lover' archetype is characterized by a combination of good looks and charming behaviour, often portrayed as a seductive figure who captivates women with a focused, intense gaze and passionate mannerisms. Typically, this character serves as a romantic, exotic hero and foreigner in melodramatic stories. Over time, this trope has also been adapted to female characters, leading to the contemporary 'Spicy Latina' archetype, known for their great beauty and prowess as accomplished fighters.
During this period, several Latin American countries began boycotting Hollywood films and instead invested in their own film studios. In response, Hollywood producers attempted to distance negative Latin characters from any specific national identification, resulting in generic and often offensive representations that painted all Latin countries with the same brush. In the 1920s, a few light-skinned Latino actors and actresses achieved international stardom. Among them were Dolores Del Rio, Myrtle Gonzalez, Ramón Novarro, Gilbert Roland, and Lupe Velez. While they frequently played stereotypical roles, their success marked significant progress for Latinos in the film industry.
In the 1930s, as 'talkies' gained prominence in Hollywood, Latino actors and actresses encountered criticism for their accents and were often relegated to supporting roles. These roles typically included portrayals as maids/servants, comedic relief, or villainous characters. These on-screen stereotypes reflected the socio-economic challenges Latinos faced off-screen during the Great Depression, following the stock market crash of 1929. During this era, American audiences increasingly demanded the portrayal of the All-American traditional hero: white, straight, cisgender, and male. Immigrants and perceived foreigners were often scapegoated as 'job-takers.' Notably, many minor Latino-speaking roles were actually filled by white actors in 'brownface,' a highly offensive practice involving makeup to imitate the appearance of non-white individuals, specifically Latin Americans. This practice of whitewashing persisted until the 1960s. Some prominent examples include Marlon Brando's portrayal of the Mexican revolutionary leader Emiliano Zapata in 'Viva Zapata!' (Elia Kazan,1952) and Natalie Wood's role as the Puerto Rican teenager Maria in 'West Side Story' (Jerome Robbins and Robet Wise, 1961), among others.
In the 1940s, during World War II (1939-1945), the United States, under President Franklin D. Roosevelt's government, implemented the 'Good Neighbor Policy.' This policy aimed to avoid interventionism and instead focused on improving relations with Latin American countries through economic and trade cooperation, as well as cultural ties. Hollywood studios played a significant role in this initiative by producing and exporting films that showcased Latin American cultures and promoted themes of friendship and solidarity. Additionally, as European markets closed to U.S. film exports during the war, these films helped recoup financial losses through Latin American markets. Among the popular film genres during this period were biopics and musicals, featuring international stars like Cuban performer Desi Arnaz and Portuguese-born Brazilian singer-actress Carmen Miranda.
In the post-war era of the late 1940s and early 1950s, a successful film genre emerged—one that focused on social issues, offered authentic storytelling, and highlighted real-life social inequities experienced by the Latin community. These films aimed to expose the struggles faced by Latinx individuals accurately. However, all good things must come to an end with the onset of the Red Scare and the rise of anti-communist sentiment during the Cold War (1947-1991). Filmmakers critical of the U.S. government or ideology, particularly those with ties to countries like Cuba, Guatemala, or the Dominican Republic, were blacklisted. Examples of films affected by this climate include 'A Medal for Benny' (Irvind Pichel, 1945), 'The Ring' (Kurt Neumann, 1952), and 'Salt of the Earth' (Herbert J. Biberman, 1954), among others. The year 1950 marked a significant milestone with Puerto Rican actor José Ferrer becoming the first Latinx a ctor to win an Academy Award as the lead actor in 'Cyrano de Bergerac' (Michael Gordon, 1950). Another trailblazer was the Puerto Rican veteran and EGOT winner, Rita Moreno, who made her Academy Award debut in 1962 with her supporting role as Anita in 'West Side Story' (Jerome Robbins and Robert Wise, 1961). Both of these talents paved the way for numerous others in the years that followed.
During the 1960s and 1970s, the Civil Rights movements inspired the Latin community to actively combat discrimination, particularly among Mexicans and Puerto Ricans. One of their central demands was the acknowledgment and representation of their voices and experiences in all American social institutions, including mass media.
As Latin creators gained greater access to education and employment opportunities in American television and film, they seized the opportunity to tell their stories on their terms. Latin activists and filmmakers began producing short films that stood in opposition to Hollywood's historically stereotypical portrayals of Latin characters. These films emphasized pride in their people and culture, promoting a more authentic representation. Some notable examples of these films include 'I Am Joaquin' (Luis Valdez, 1969), 'Requiem 29' (David Garcia, 1971), 'Yo Soy Chicano' (Jesús Salvador Treviño, 1972), 'Garment Workers' (Racho, 1975), and 'Chicana' (Morales, 1979), among others. These works often dealt with social issues while celebrating culture and identity. Over time, pioneers like Luis Valdez and Moctesuma Esparza found their way into mainstream mass media, paving the way for numerous others to follow suit.
The 1980s earned the moniker of the 'decade of the Hispanic' due to the increasing opportunities in Latin filmmaking and the recognition of the Latin community as a significant part of the consumer market. This era witnessed a notable rise in Latinx representation in film. Some noteworthy examples of films from this period include 'El Norte' (Gregory Nava, 1983), 'Crossover Dreams' (Leon Ichaso, 1985), 'Born in East L.A.' (Cheech Marin, 1987), and 'Stand and Deliver' (Ramón Menédez, 1988), among others. However, it's important to acknowledge that was not a bed of roses. The 1980s also contributed to the perpetuation of certain stereotypes, particularly the association of the Latin community with the 'drug lord' stereotype. This was notably reflected in the remake of 'Scarface' (Brian de Palma, 1983). Off-screen, the hunt for the infamous Colombian drug lord Pablo Escobar during the same decade.
From the 1990s into the early 2000s, the momentum of Latino storytelling and representation continued to build. Films like 'El Mariachi' (Robert Rodriguez, 1991), 'American Me' (Edward James Olmos, 1992), 'Selena' (Gregory Nava, 1997), and 'Real Women Have Curves' (Patricia Cardoso, 2002), among others, played a pivotal role in this progress. This period also witnessed the emergence of Hollywood stars with Hispanic and Latinx backgrounds, including Jennifer Lopez, among others. Moving into the 2010s, renowned Latin directors like Alfonso Cuarón, Alejandro González Iñárritu, and Guillermo del Toro began receiving recognition and prestigious awards, contributing significantly to the industry.
Stereotypes in Latinx roles persist in the present day, reinforcing misconceptions about their communities. These stereotypes include depictions of farmworkers, helpless immigrants or refugees, narco or cartel hitmen, and domestic workers, Most of them are often associated with criminal storylines. Additionally, it's crucial to highlight that during the Trump administration, from 2017 to 2021, there was a significant increase in anti-Latino sentiments, leading to what can be considered the largest anti-Latino racial massacre in recent history.
A recent study conducted by the USC Annenberg Inclusion Initiative, analysing approximately 1,300 box office films from 2007 to 2019, revealed that only around 5% of speaking characters in these films were Hispanic or Latino. Furthermore, a mere 3.5% of these characters held leading roles or prominent sidekick roles in their respective films. In 2019, out of the 94 Hispanic or Latino characters featured in top-grossing films, 9.5% were portrayed as immigrants, 37.2% were depicted as not speaking English, and 30.5% were shown speaking English with an accent. Shockingly, Latino representation in the media industry has seen minimal growth, with an increase of only 1% over the past decade.
One of the primary challenges facing the Latinx community in contemporary Hollywood is the notable lack of representation both in front of and, crucially, behind the cameras. Every Latin American country has a history deeply rooted in exploration, colonization, and immigration, which has led to a rich tapestry of diverse backgrounds and experiences. However, this diversity often remains inadequately represented in the film industry. Two related issues compounding this challenge are the lack of intersectionality and diversity on screen. In response to these pressing concerns, there have been some notable efforts in the late 2010s and early 2020s to address these disparities. Films such as 'Spider-Man: Into the Spider-Verse' (Miles Morales, 2018), 'Roma' (Alfonso Cuarón, 2018), 'The West Side Story' (Steven Spielberg, 2021), 'In the Heights' (Jon M. Chu, 2021), 'Coco' (Adrian Molina and Lee Unkrich, 2017), and 'Encanto' (Byron Howard and Jared Bush, 2021), among others, have aimed to provide more diverse and inclusive portrayals.
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