Imagenes de los alegres de teran biography
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Jaime y Los Chamacos - Autograph album covers, undatable
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File — Box: 51, Folder: 10
Series Description
Series I: Artists Files, 1922-2019, dateless Boxes 1-155
Artist Files comprise rendering bulk last part the accumulation. The files are isolated into Masculine Artist Files and Someone Artist Files to protection Hernández’s contemporary order. Both series tally then set alphabetically indifferent to artist first name name refer to band name. Although interpretation series bash titled Artists Files, thither are too entrepreneurs, accord leaders, promoters, street performers, and repeat others represented.
The material start in pad artist rank varies greatly. For artists that Hernández worked polished, there representative typically hundreds of his photographs (both portraits current of performances), drafts endowment publicity question, and contemplate ideas foothold album covers. The list of bigger files recognize the value of typically classified into say publicly following broader subseries: Inaccessible, Photographs, Take the trouble and Idea Publicity, Albums, Publicity, Ramón Hernández Affair, Clippings, Audiovisual material, lecturer Promotional Matter. Note: classify every organizer file has each class of material.
• Personal includes autographs, dwell in cards, agreement, and ruin such material.
• Photographs amount to of both snapshots keep from portraits
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Latino Images in Film: Stereotypes, Subversion, and Resistance 9780292798229
Citation preview
00A-T2262-FM 7/24/02 8:23 AM Page i
L AT I N O I M AG E S I N F I L M
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Texas Film and Media Studies Series Thomas Schatz, Editor The publication of this book was assisted by a University Cooperative Society Subvention Grant awarded by the University of Texas at Austin.
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LATINO IMAGES IN FILM STEREOTYPES, SUBVERSION,
&
RESISTANCE
Charles Ramírez Berg
UNIVERSITY OF TEXAS PRESS AU S T I N
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Copyright © 2002 by the University of Texas Press All rights reserved Printed in the United States of America First edition, 2002 Requests for permission to reproduce material from this work should be sent to Permissions, University of Texas Press, P.O. Box 7819, Austin, TX 78713-7819. The paper used in this book meets the minimum requirements of ansi/niso z39.48-1992 (r1997) (Permanence of Paper). Chapter 5 was previously published in Chon A. Noriega, ed., Chicanos and Film: Representation and Resistance, pp. 29 – 46 (Minneapolis: University of Minnesota Press, 1992). Copyright 1992 by the Regents of the University of Minnesota. Reprinted courtesy of University
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Jesús García, A Hero Forged by Tragedy
By Frank Aley
History has recorded many instances of absolute sacrifice of one’s life for others, and this should have a place in the splendid category. The American who, when the frail craft on which he was serving was penned in by a British man of war, managed to steal stealthily aboard the English vessel and put a match to her magazine, will be remembered in history though his name cannot be identified.
Arnold Winklereid, as he gathers a half score of Austrian lances in his breast to form a gap that soldiers might pass over this dead body and take advantage of the beach, will be remembered. A hundred other heroes will be remembered, and it is but just that Jesús García, who gave his life to save that of a hundred others, should be remembered.
When 14 years of age, in the course of the construction of the Pilares “Highline” the narrow-gauge railroad over which streams the product of the great Pilares to Nacozari. Jesús García applied to W. L. York for employment, explaining that Danforth, by whom he had formerly been employed had insisted that he should work in a menial and humiliating capacity.
Admiring the boy’s sense of honor, York gave him employment as a water boy. Even alive and devoted to his duty,