Latino Cinema in den USA


Isaac Artenstein
USA 1984 | 27 Min. | BetaSP, OF
Pedro J. Gon­za­lez’ story, sym­bol­ic of the his­to­ry of people of Mex­i­can descent in the United States, begins in 1910 during the Mex­i­can Rev­o­lu­tion against the dic­ta­tor Por­firio Diaz. Pedro, … read more


Frances Negrón Muntaner
USA 1994 | 55 Min. | 16 mm, OF
An exper­i­men­tal fea­ture film on con­tem­po­rary Puerto Rican iden­ti­ties. In a mix of fic­tion, archival footage, inter­views and soap opera drama, the film tells the story of Clau­dia Marin, a … read more


Denise Richards
USA 1996 | 30 Min. | OF, Umatic
CALAVERAS is a doc­u­men­tary on the altars that are built to remem­ber and honor the deceased on Novem­ber 1, known as ‚Dia de los Muer­tos’ (the Day of the Dead). … read more


Les Blank
USA 1976 | 58 Min. | 16 mm, OF
The music of the Rio Grande-Valley - some call it Con­jun­to others Tex-Mex or Música Norteña – is a strong ener­getic music, based pri­mar­i­ly on the accor­dion and the dri­ving … read more


Laura Angélica Simón
USA 1997 | 53 Min. | 35 mm, OF
Bill 187 of the Amer­i­can State of Cal­i­for­nia states that chil­dren of »ille­gal aliens« have no right to edu­ca­tion and health ben­e­fits. Film­mak­er Laura Angéli­ca Simón works as an immi­grant … read more


Lauren Ivy Chiong
USA 1997 | 23 Min. | 16 mm, OF
A tor­tilla sea­soned with a dash of magic real­ism, sprin­kled with hope, and baked on faith for twenty-three min­utes. The result: Lauren Ivy Chiong’s short film Holy Tor­tilla. A cel­e­bra­tion … read more


Frances Negrón Muntaner
USA 1996 | 47 Min. | OF, Video
HOMELESS DIARIES is a video jour­ney into Tent City, a camp built by home­less orga­niz­ers and home­less people from Puerto Rico on an empty Philadel­phia lot in 1995. Negrón-Muntan­er inter­weaves … read more


Michael van Wagenen, Monica Delgad
USA 1995 | 27 Min. | 16 mm, OF
In Texan com­mu­ni­ties along the Rio Grande River, there is a vibrant mix­ture of Span­ish Catholi­cisim and Indian mys­ti­cisim. For hun­dreds of years var­i­ous saints and reli­gious fig­ures have made … read more


Robert Boonzajer Flaes
Netherlands 1986 | 50 Min. | OmeU, Umatic
Polkas are played in many coun­tries all over the world and the dia­ton­ic accordeon is its clas­si­cal instru­ment. Where does this music come from and how did it change during … read more


Ramón Menéndez
USA 1988 | 104 Min. | 35 mm, OF
The drama­ti­za­tion of the life of an extreme­ly demand­ing maths teacher at an East LA school in a Chi­cano neigh­bour­hood: Thanks to his sever­i­ty the pupils pass the exams and … read more


Robert M. Young
USA 1983 | 99 Min. | 35 mm, OmU
The life of Gre­go­rio Cortez, in the first years of the 20th cen­tu­ry in Texas, which has become legend through innu­mer­ous songs and writ­ings is recount­ed in a mix­ture of … read more

US-Mexican War 1846 -1848

Part 1

Ginny Martin
USA 1998 | 60 Min. | Betacam
© PBS Home Video

While most Mex­i­cans are aware of the war, most Amer­i­cans know little, if noth­ing, about it. The out­come changed the des­tiny of both coun­tries. After 16 months of fierce fight­ing, from Texas to Cal­i­for­nia and all the way south to Mexico City, the war ended with the Treaty of Guadalupe Hidal­go. As a result, Mexico lost nearly half of its ter­ri­to­ry and the United States gained more than 50.000 square miles of land – the present states of New Mexico, Ari­zona, Nevada, Utah, Cal­i­for­nia, and parts of Okla­homa, Col­orado and Wyoming. The series exam­ines the his­tor­i­cal, social and cul­tur­al forces that shaped this piv­otal period during which two neigh­bor­ing coun­tries strug­gled for land, nation­al iden­ti­ty and power. 

» (…) From the begin­ning, we made a com­mit­ment to trying to pro­vide a bal­anced, mul­ti­ple per­spec­tive on the war. This meant involv­ing both Mex­i­can and Amer­i­can schol­ars on the war, as well as Chicano/a schol­ars famil­iar with bor­der­lands his­to­ry. We would come to appre­ci­ate how much the prism of nation­al iden­ti­ty can shape one’s view of his­tor­i­cal events. Many Amer­i­cans I would meet in the course of pro­duc­tion had lit­er­al­ly no knowl­edge of the war, while, per­haps not sur­pris­ing­ly, equal num­bers of Mex­i­cans, edu­cat­ed or not, would imme­di­ate­ly talk about ‘the Yankee inva­sion, when the grin­gos stole our ter­ri­to­ry.’ (…) As we waded fur­ther and fur­ther into the sub­ject, we strug­gled with the imbal­ance of exist­ing his­tor­i­cal mate­ri­als. On the Amer­i­can side, we dis­cov­ered a wealth of mate­ri­als, from hun­dreds of pub­lished mem­oirs by sol­diers who fought in the war to count­less unpub­lished doc­u­ments and visual images. On the Mex­i­can side, it was a dif­fer­ent story. There were just a hand­ful of mem­oirs from the period, most of which had not been writ­ten by the war’s com­bat­ants. We con­stant­ly heard rumors that more mate­ri­als exist­ed in pri­vate or gov­ern­men­tal war archives but if that infor­ma­tion exists, it will have to wait for later doc­u­men­tar­i­ans to present it. Yet anoth­er chal­lenge lay in pre­sent­ing this story on tele­vi­sion – a visual medium. Unlike the Civil War, which had begun just twelve years later and for which hun­dreds of thou­sand of pho­tographs exist, the U.S. -Mex­i­can war was prac­ti­cal­ly pre-pho­tog­ra­phy.« (Paul Espinosa)