In Latinos and Narrative Media: Participation and Portrayal, ed. Days of the (Un)dead: Vampires, Zombies, and Other Forms of Chicano/a Horror in Film. Tucson: University of Arizona Press.Īlemán, Jesse. This is a surprising state of things seeing that some of the most well-known directors in the genre are from this neglected community (e.g., George Romero, Robert Rodriguez, Guillermo del Toro).Īldama, Frederick Luis, and Christopher González. Not much has changed since Barry Keith Grant wrote that ‘issues of race…are becoming increasingly important in horror’ ( The Dread of Difference, 10) yet the members of this ethnic and racial minority are still ignored. It is surprising, therefore, that the American film industry has largely ignored this demographic growth and shift: the Hispanic/Latino character is almost entirely absent few plots reflect/include the Hispanic/Latino presence in the US films ignore elements with which Hispanics/Latinos grapple (e.g., cultural identity, immigration, unemployment, religious affiliations, poverty). The most recent US Census (March 2015) reports that the Hispanic/Latino population in the US is approximately 55 million people or 17% of the total population and that this is not only currently the largest ethnic or racial minority but that by 2060, this population will reach 119 million or 28.6% of the population. Rather than espousing the Hispanic/Latino culture in the horror film genre, the film and its reviews make it the Other. Latino culture,’ but this constant emphasis on the ‘Hispanic’ in the film reviews is quite disturbing. Mind you, one sound is understood in any language: a scream.’ I’m not sure what is meant by ‘the more robust L.A. Latino culture….more sexually charged than its predecessors, with some of the dialogue in Spanish, this is Paranormal Activity, Univision-style. For example, Richard Corliss’ ‘Familiar Scares with a Salsa Tang’: the film ‘takes a detour…from the nice white people getting haunted in suburban Los Angeles and lands in heavily Hispanic Oxnard….the new movie is not exactly a sequel…but more a grafting of the familiar fright mechanisms onto the more robust L.A. We see this perception and interpretation play out in the reviews of The Marked Ones. Landon) and examines how it, while supposedly being more ‘ethnic’ in its composition, actually reifies the white privilege of the other films in the series. My paper focuses on Paranormal Activity: The Marked Ones (2014 written and directed by Christopher B.
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