Subaltern Soundtracks
Bibliographic Data
| ID | 3803841 |
|---|---|
| Authors | Curtis Marez (corresponding author) |
| Year | 2004 |
| Volume | 29 |
| Issue | 1 |
| Pages | 57-82 |
| Publication date | 2004-04-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Aztlán A Journal of Chicano Studies (JOURNAL) |
| Journal identifiers | ISSN: 0005-2604 • E-ISSN: 2996-2595 |
| Publisher | University of California Press (PUBLISHER • US) |
| DOI | 10.1525/azt.2004.29.1.57 |
| OpenAlex | W4390804231 |
| Language | EN |
| Citations received | 3 |
This essay suggests that the postrevolutionary Mexican presence in Los Angeles profoundly influenced the emergence and consolidation of film and other media there. In the 1930s, Anglo Americans and Mexicans were in conflict and competition over how to use new forms of audio mass media such as radio and sound films. Mexican movie programmers and audiences in Los Angeles appropriated early sound films in ways that addressed immigrant concerns and contradicted emergent Hollywood norms of exhibition and spectatorship. Mainstream responses to such practices suggest that dominant uses of sound in film exercised an ideological police power that was ultimately aimed at symbolically containing Mexican dissent
Aesthetics · Art · Art history · Dissent · Hollywood · Ideology · Immigration · Mainstream · Media studies · Movie theater · Political science · Politics · Power (physics) · Sociology · Subaltern · Visual arts · Cinema and Media Studies · Gender Studies · History
| Citations per year | 0.43 |
|---|---|
| Citation span | 2019 - 2025 (7) |
| Highly cited | No |