By Professor Priscilla Peña Ovalle

Dance and the Hollywood Latina asks why each Latina famous person in Hollywood heritage, from Dolores Del Rio within the Twenties to Jennifer Lopez within the 2000s, begun as a dancer or danced onscreen. whereas cinematic depictions of ladies and minorities have likely better, a century of representing brown girls as traditional dancers has popularized the idea that Latinas are inherently passionate and promiscuous. but a few Latina actresses grew to become stars by means of embracing and manipulating those stereotypical fantasies.

Introducing the recommendations of "inbetween-ness" and "racial mobility" to extra remove darkness from how racialized sexuality and the dancing woman physique function in movie, Priscilla Peña Ovalle makes a speciality of the careers of Dolores Del Rio, Rita Hayworth, Carmen Miranda, Rita Moreno, and Jennifer Lopez. Dance and the Hollywood Latina is helping readers larger know the way the us grapples with race, gender, and sexuality via dancing our bodies on display.

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Additional info for Dance and the Hollywood Latina: Race, Sex, and Stardom

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This chapter shows, however, how the complexities of race that framed the Hollywood 20 dance and the hollywood latina Latina’s national origin would play a significant—if subtle—role in the range of her characters and how performers from the Caribbean would face greater representational challenges than women from Mexico or Spain. Chapter 3 also shows how, by building on the United States’ hesitant relationship with Latin America, Miranda provided a crucial link between the United States and Brazil.

In chapter 3, “Carmen Miranda Shakes It for the Nation,” I focus on Miranda to highlight how the racial complexity of Latin America was immediately collapsed into an oversimplified and hyperexoticized version of the brown female body that exemplified the marketability of in-betweenness in the progression of the screen Latina’s mythology. S. frame, the social, racial, and cultural complexities of the Latina were disregarded in favor of familiar signifiers that highlighted the imperial position of the United States.

The aristocratic Brazilian Belinha (Del Rio) and Anglo-American dolores del rio across the imperial color line 39 Roger (Gene Raymond) meet in a Miami hotel where Belinha is a guest and Roger the bandleader. After hotel management warns Roger about his reputation as a gigolo, he and the band are fired when Belinha proves too tempting for Roger to ignore. Searching for work, the band is hired by Roger’s Brazilian friend Julio at a Rio de Janeiro resort; unbeknown to Roger, Belinha is betrothed to Julio, and her father owns the resort.

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