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Pachuco Goes to the Movies

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The press went on using the kind of rhetoric that it did, and the police went on doing exactly what they had been doing. It was all this talk about Mexican gangs, and zoot-suiters, and pachucos, and all the rest of it. Then we got into '43, and the whole thing exploded.

Carey McWilliams interviewed by Joel Gardner, 1978
During the Second World War, home front hostilities were directed not only outward to Germany, Japan, and Italy, but also toward parts of the American population. Forces at different levels of government, state, and the civilian population, along with the press, worked together to marginalize, ostracize, attack, and confine Japanese, Black and Mexican Americans during wartime, even if they did not intentionally conspire together. While this chapter primarily focuses on examples related to the cultural memory of the attacks on Mexican Americans in Los Angeles during this period, a national context situates the event within historical networks of power and place.

This page has paths:

  1. Projecting 1943 Veronica Paredes
  2. Ejected Spectators and Inactive Users: Locating Multimodal Historiography In Repurposed Media Spaces Veronica Paredes

Contents of this path:

  1. Historical Background & Other Riots
  2. On Assemblage Method
  3. Movie Theater as a Site of Violence I
  4. Kim Sing Theatre
  5. Kim Sing Theatre II
  6. Blood on the Pavement
  7. Blood on the Pavement: Carmen
  8. "The mob went happily down Broadway..."
  9. Individual Frames of Reference
  10. Movie Theater as a Site of Violence II
  11. Ejected Spectator: Challenging Representations
  12. Ejected Spectator: Challenging Representations II
  13. Ejected Spectatorship I: Race, Gender, and Space
  14. Ejected Spectatorship II: Migrant Spectator
  15. Ejected Spectatorship III: Disidentification
  16. Identity Produced Within Representation
  17. Bibliography for Projecting 1943: Pachuco Goes to the Movies