Thanks for your patience during our recent outage at scalar.usc.edu. While Scalar content is loading normally now, saving is still slow, and Scalar's 'additional metadata' features have been disabled, which may interfere with features like timelines and maps that depend on metadata. This also means that saving a page or media item will remove its additional metadata. If this occurs, you can use the 'All versions' link at the bottom of the page to restore the earlier version. We are continuing to troubleshoot, and will provide further updates as needed. Note that this only affects Scalar projects at scalar.usc.edu, and not those hosted elsewhere.
Marquee Survivals: A Multimodal Historiography of Cinema's Recycled SpacesMain MenuIntroductionMarquee Survivals: A Multimodal Historiography of Cinema's Recycled SpacesIntroduction, StartMarquee Survivals: A Multimodal Historiography of Cinema's Recycled SpacesHistories ConcealedHistories Concealed landing pageProjecting 1943Sense of PachucaBroadway as BackgroundSplash page for Broadway as Background / Background as BroadwayPhoto Essay: Marquee StoriesIntro to photo essay: Marquee StoriesPrototypesExploring project prototypesPortfolioEjected Spectators and Inactive Users: Locating Multimodal Historiography In Repurposed Media SpacesVeronica Paredesf39d262eb7e9d13906fe972f3e5494dbae1896bc
Olympic marquee, ca. 1980s
12015-05-31T21:14:16-07:00Veronica Paredesf39d262eb7e9d13906fe972f3e5494dbae1896bc34292Olympic marquee advertises Cazador de asesinos (1983) and La cariñosa motorizada (1977)plain2015-05-31T21:16:29-07:00Veronica Paredesf39d262eb7e9d13906fe972f3e5494dbae1896bc
This page has tags:
1media/bway-as-bg.jpg2015-06-02T07:43:39-07:00Veronica Paredesf39d262eb7e9d13906fe972f3e5494dbae1896bcAppendix: Archival PhotosVeronica Paredes8Tag for archival photos (Broadway as Background)gallery2015-06-17T07:49:21-07:00Veronica Paredesf39d262eb7e9d13906fe972f3e5494dbae1896bc
Contents of this tag:
1media/bway-as-bg.jpg2015-06-02T07:43:39-07:00Veronica Paredesf39d262eb7e9d13906fe972f3e5494dbae1896bcArchival Photos4Tag for archival photos (Broadway as Background)gallery2015-06-02T08:13:51-07:00Veronica Paredesf39d262eb7e9d13906fe972f3e5494dbae1896bc
This page is referenced by:
1media/bway-as-bg.jpg2015-05-30T09:44:59-07:00Mexico lindo y querido54Tag for Broadway as Background / Background as Broadwaystructured_gallery2015-07-19T10:09:28-07:00
porque no quiero olvidar me voy me voy (the trumpet cries) a Los Angeles porque no quiero olvidar me voy a Los Angeles me voy (the accordion moans) a Los Angeles porque no quiero olvidar mi México (the trumpet wails)
This theme is named after a song “México lindo y querido” (Beautiful and Beloved Mexico), with a well known version coming from Mexican singer Jorge Negrete.The lyrics describe a deep sentiment of loyalty and love for the homeland of Mexico: “My beautiful and beloved Mexico/ should I die far from you/ let them say I'm asleep/ and bring me back to you.”These lyrics were prophetic as Jorge Negrete died in Los Angeles in 1953. Negrete’s travel to the city had been arranged by Frank Fouce, a movie theater impresario and owner who ran a major entertainment organization that catered to Mexican audiences in the city at the height of the Spanish-language cinema renaissance in Downtown Los Angeles.
For immigrant (primarily Mexican and Mexican American) film audiences that frequented South Broadway, well into the 1970s and early 80s, the movie theaters in Downtown Los Angeles provided an opportunity to be symbolically transported to “Mexico lindo y querido.” Gracefully demonstrating this diasporic sentiment in the epigraph above, poet Eduardo Corral mixes languages – Spanish, English, musical – on the space of the page to evoke a nostalgia and sense of transnational belonging particular to Los Angeles’ place in the diasporic cultural imaginary.
In interpreting these varying modes of nostalgia and sentimentality, it is useful to consider how transnational scenes of belonging are shaped by the processes of forming cultural and ethnic(-racialized) identities. These processes are relational, involving situated definitions of identity as they are formed in a specific city, as George Sánchez examines in Becoming Mexican American, focusing on Los Angeles in the first half of the 20th century, or between different generations, periods of migration, and shifting notions of citizenship as David Gutiérrez outlines in Walls and Mirrors. Identities are also shaped through and within media representations: for example, between film cultures, understandings of modernity, and media industries, as Laura Isabel Serna explains in Making Cinelandia, a work that complicates dominant understandings of how American films functioned in Mexican film culture on both sides of the border in the 1920s. The mediated formation is Chicano identity is addressed in Rosa Linda Fregoso’s landmark studies, The Bronze Screen and meXicana Encounters, which illustrate how canonical Chicano films center masculinity, heterosexuality and investment in the Chicano familia to build their cultural nationalist project.
[i] For further exploration of “México Lindo,” see Arturo F. Rosales, “In Defense of México Lindo,” in Chicano! The History of the Mexican American Civil Rights Movement (Arte Publico Press, 1996), 55–71.
