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The social aspects of religion
The social aspects of religion
The social aspects of religion
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Influence of Telenovelas in Latino Culture Telenovelas(novelas) are a big part of Latino culture. They are the most well-liked genre of television show aired on the prime-time TV throughout the Latin-Americas.1 This style of melodramatic narrative got its start in radio broadcast circa 1960. Popular radio scripts were quickly adapted to meet television standards and distributed to Latin American countries by means of broadcast syndication. The themes of these shows often touched on sensitive issues; concerns shared by Latino cultures around the world. Their immense popularity amplifies the message contained in these shows which sometimes results in social change. This paper will highlight this phenomenon and examine the effects it has …show more content…
Old world social norms and values that still exist today are heavily influenced by Christian moral code, especially when it comes to sensitive matters. The Bible's is very explicit about certain topics and this attitude, the lack of tolerance by the Church, means that the issues are often completely shut out. I can see how someone outside of my culture might find this way of life a bit strange but the truth is that this is how it is for many Latinas in Mexico and the U.S. There are lots of Hispanic people whose lives are upset by uncompromising religious beliefs and old world cultural standards. To get an idea of approximately how many Latinos are affected by this I reviewed a survey 2011 conducted by Pew Research of religions in the U.S. The study revealed that over than 33% of U.S. Latinos self-identified as Catholic and over 50% reported to be members of some kind of Christian based religion.4 While my family did not belong to the Catholic faith, our religion(Apostolicism) followed many of the same maxims propagated by the Catholic Church. We read the Bible, believed in heaven and feared the immortal damnation of our souls if we lived a life in sin. I had a hard time relating to my peers at school because I was unable to talk about topics that youth discussed openly. This is where the telenovela stepped in to bridged the …show more content…
The mass appeal of these programs helps society progress and ease into difficult subject matter. People connect to the relationships of the characters they see on TV. Many telenovelas also incorporate into their narratives important women's issues from domestic abuse to racism to abortion and homosexuality and more. One of the longest running telenovela series is called "Mujer: Casos de la Vida Real," which roughly translates to "Women: Cases of Real Life." This series has been running since 1985 on Mexican television and was first aired after a major earthquake shook up Mexico City. The show was produced by Televisa and was meant to assist victims of the natural disaster but it didn’t exactly fulfill its purpose. Nevertheless, after witnessing the overwhelming response from the Mexican public, executives at Televisa decided to continue the programming to use the influence of mass media to raise awareness of various women's issues. It took about five years for the themes to mature since Mexican society in the 1980s was not ready to discuss such topics as domestic violence yet. By the early 1990s, though, themes took a sore serious tone and included cases of rape, incest, child abuse, prostitution, LGBT
Latin American identity, something so simple yet so powerful, an idea that has caused numerous countries great political, cultural, and economical problems. Something that has been lost at times and forced back into play, an ongoing dream that has taken its toll on an entire continent. In Calle 13’s song “Latinoamerica”, the idea of Latin American identity is portrayed through the thoughts of an actual Latin American. In this piece, Calle 13 brings up numerous issues occurring in todays Latin America. It is a manifest against great economic instability in Latin America, ongoing political issues, and what true Latin American identity means. Calle 13 brings these points up with great precision, for example “Soy una fábrica de humo, mano de obra
Depiction of Latinos in 20th Century Film Graphs Not Included Over the course of this past century, the depictions of assimilated Latino characters has improved a great deal. Early portrayals of Latino assimilation generally proved to be a montage of unrealistic caricatures which seemed to convey the filmmaker's creativity more so than true representations. This formed the manner in which the American people at large viewed not just Latino characters attempting to assimilate, but also those who were not. As Cine-Aztlan puts it, film "manipulates the human psychology, sociology, religion, and morality of the people, in a word the ideological super-structure of modern capitalist society" (pg.275, Chicanos and Film).
In his chapter “The Devil Dances,” Limón (1994) argues that the devil is a metaphor for Latinos and Latinas. For Latinos, the devil symbolizes a threat and for Latinas the devil is a sexualized charge sight of admiration and delight. By examining a rumor of the devil appearing at a local dance in Texas, Limón shows a critical reaction to an increasing saturation from an intensifying culture of postmodernity. The struggle for cultural survival and authenticity, especially for women who are always on the lowest rung of the socioeconomic ladder, is the necessity for engaging with those devils. It is through this lowest rung that causes tension and trauma. The devil is a symbol of threat, fear, and domination. This symbol is derived uncousinly, according to Limón, and is used as a coping
Hernandez, Tanya Katerí, “The Buena Vista Social Club: The Racial Politics of Nostalgia.” Latino/A Popular Culture. Ed. Michelle Habell-Pallán, Mary Romero. New York: New York University Press, 2002. 61-72. Print.
As showed in the film, Latino American often misrepresented and underrepresented both in front of and under the camera. American Hispanic often portrayed as lazy, unintelligent, greasy and criminal. Hispanic women often pictured comfortable sexuality as prostitution in film production; while Hispanic actors limit to criminal characters such as drug dealers, gangster, and provide the power for the white American. Audiences have less interaction with Latino in their real world might be easily framed by media images regarding the race and ethnicity. The lack of Hispanic history and culture understanding allows these media portrayals to change and form unfavorable behavior and attitude against Latino communities.
Latinos often use Christian and religious imagery in their writing. The strongly religious memories and values instilled upon during their upbringing are often also used to represent innocence and/or their childhood ( Najarro ). Most Latinos who were raised in the United States had parents who ardently clung to the strict religious beliefs carried with them from their mother country. Therefore as Latinos struggle to connect themselves with their culture they find the Catholic faith strongly rooted in their past.
As a traditional, collectivistic cultural group, the Latino population is believed to adhere deeply to the value of familismo. (Arditti, 2006; Calzada, 2014). Familism is an emphasis on the importance of the family unit over values of autonomy and individualism”. (Santistaben, 2012). Family is considered to be the top priority in the Latino culture. Comparatively, at times, this isn’t true of our busy, work devoted western culture. In western culture we think of our family in a nuclear sense made up of a: mom, dad, and siblings. Conversely, Hispanic culture focuses on the whole extended family including aunts, uncles, grandparent, and cousins. Their culture believes having close connections with the entire extended family benefits the development of their children. The entire family helps the child by giving them differing levels of social and emotional support. (American Home Resolutions,
Religion holds a powerful position in the lives of Latinos. It provides a built in censor of right and wrong in the form of extreme guilt (Aranda 150). The chapter "A Rice Sandwich" divulges the way guilt is established. Here Esperanza wants to eat at the canteen for lunch, but the nuns just insult her, and this makes her cry. She says they were "...pointing to a row of three ugly flats, the one the raggedy men are ashamed to go into. Yes...though I knew that wasn't my house" (Cisneros 45). The fact that her victimizers were nuns made her even more embarrassed about where she lived than she already was.
I come from a Mexican family of four. My brother and I were raised as Mexican Americans. As my parents’ only daughter, their teachings has made me who I am today. In this class I have evaluated my relationship with my family. I learned how their culture has influenced my upbringing, what type of relationship we have and how to communicate properly.
Latinos have struggled to discover their place inside of a white America for too many years. Past stereotypes and across racism they have fought to belong. Still America is unwilling to open her arms to them. Instead she demands assimilation. With her pot full of stew she asks, "What flavor will you add to this brew?" Some question, some rebel, and others climb in. I argue that it is not the Latino who willingly agreed to partake in this stew. It is America who forced her ideals upon them through mass media and stale history. However her effort has failed, for they have refused to melt.
To help me understand and analyze a different culture, I watched the film Selena. The film tells the life story of the famous singer Selena Quintanilla-Pérez. Not only does it just tell personal stories from her life, it also gives insight to the Mexican-American culture. Her whole life she lived in the United States, specifically in Texas, but was Hispanic and because of that both her and her family faced more struggles than white singers on the climb to her success. Even though the film is a story about a specific person, it brought understanding into the culture in which she lived. Keeping in mind that these ideas that I drew about the Mexican-American culture is very broad and do not apply to every single person in the culture, there were very obvious differences in their culture and the one that I belong. Mexican-American culture identifies with their family rather than individualized or spiritual identities and the culture has gone through significant changes because of discrimination and the changing demographics of the United States.
In essence, the corrido genre is legendary for its hard-bitten lyrics of drug traffickers plus gunfights, and moreover functions as a genus of musical tabloid, singing of regime dishonesty, the lives of émigrés in the United States, in addition to the scuffles of the Zapatista insurgency in Chiapas. Although principally anonymous to English speakers, narco corridos top the leading Latin charts and govern radio playlists equally in the United States as well as points south. Examining diverse recent studies, the authors present in-depth examinations at the songwriters who have changed groups like the trendy Tigres del Norte into permanent celebrities, as well as the upcoming artists who are hauling the narco corrido into the 21st. In proving for the poetry as well as social demonstration at the back the ornate lyrics of in...
This puts an enormous amount of pressure immediately on a child in this culture. Children are filled with the belief that everything they do is being watched by the Lord; who is keeping a list of all good and bad deeds done by the children. This is something that is instilled in all children. We go to mass every Sunday. There are three facets to a child growing up in the Mexican-American culture. The first is a child gets baptized at about 8 months. It is typical for the first male child born to be named after their father. The baptism is done to welcome the child into the Catholic religion. Children then take Catechism classes so that they could do their First Communion. After the First Communion, children go to school in order to do their Confirmation. In our culture, these three are needed in order to be able to one day get married through the Catholic Church. Children are taught that marriage is between and man and a woman only, and same sex relationships are against the Roman Catholic religion. Our religious beliefs affect who you are as a person greatly. As stated before, we are taught that marriage is between male and female only. If a person in our culture is in a homosexual relationship, they are going against God’s word, and are guaranteeing themselves a spot in
Martinez, Ibsen. "Chaos, Chavismo and Telenovelas." The New York Times. The New York Times, 8 Apr. 2014. Web. 26 May 2014. .
“A Cultural Approach to Television Genre Theory” argues that the application of film and literary genre theory do not fully translate when analyzing television, because of “the specific industry and audience practices unique to television, or for the mixture of fictional and nonfictional programming that constitutes the lineup on nearly every TV channel. 2” The goal of media genre studies, Mittell asserts, is to understand how media is arranged within the contexts of production and reception, and how media work to create our vision of the world.