Immigrants and Immigration To The US in Musicals From West Side Story To Vivo Archive

MASARYKOVA
UNIVERZITA
FILOZOFICKÁ FAKULTA
Immigrants and
Immigration to the US in
Musicals: From West Side
Story to Vivo
Magisterská diplomová práce
ALISA R Y Z H E N K O
Vedoucí práce: Mgr. Tomáš Kačer, Ph.D..
Katedra anglistiky a amerikanistiky

Katedra anglistiky a amerikanistiky Obor Anglický jazyk
a literatura
Brno 2022
MUNI
ARTS
IMMIGRANTS A N D IMMIGRATION TO T H E U S IN M U S I C A L S : F R O M W E S T S I D E S T O R Y TO
VIVO
Bibliografický záznam
Autor: Alisa Ryzhenko

Filozofická fakulta
Masarykova univerzita
Katedra anglistiky a amerikanistiky
Název práce: Immigrants and Immigration to the US in Musicals: From West

Side Story to Vivo
Studijní program: Katedra anglistiky a amerikanistiky Obor Anglický jazyk a
literatura
Vedoucí práce: Mgr. Tomáš Kačer, Ph.D..

Rok: 2022
Počet stran: 94
Klíčová slova: Imigranti, latino, muzikály, reprezentace, West Side Story, In the
Heights, Vivo
2
VIVO
Bibliographic record
Author: Alisa Ryzhenko

Faculty of Arts
Masaryk University
English Language and Literature
Title of Thesis: Immigrants and Immigration to the US in Musicals: From West

Side Story to Vivo
Degree Programme: Master's degree program
Supervisor: Mgr. Tomáš Kačer, Ph.D..
Year: 2022
Number of Pages: 94
Keywords: Immigrants, Latino, musicals, representation, West Side Story, In
the Heights, Vivo
3
IMMIGRANTS AND IMMIGRATION TO THE U S IN M U S I C A L S : F R O M W E S T S l D E S T O P Y TO
V IVO
Anotace
Účast a zastoupení latinskoamerických přistěhovaleckých populací, zejména ve
filmech a muzikálech, je kritická z několika důvodů. Pro začátek, skutečnost, že se pře
stěhovali přes hranice, znamená, že neustále hledají prostor, kam mohou patřit. Kromě
toho se musí potýkat s problémy stereotypní reprezentace a autenticity. Tato diplo
mová práce se zaměřuje na West Side Story, In the Heights a Vivo, tři hudební filmy,
které byly vybrány pro jejich pozitivní portréty latinskoamerických imigrantů. Výše
uvedeným filmům se podařilo imigranty polidštit a vykreslit je jako jedince hodné dů
stojného a lidského znázornění s využitím témat jako láska, autenticita atd.
4
VIVO
Abstract
Participation and representation of Latin American immigrant populations,
particularly in films and musicals, is critical for several reasons. For starters, the fact
that they moved across borders implies that they are constantly looking for space
where they can belong. In addition to that, they must contend with issues of stereotyp-
ical representation and authenticity. This diploma thesis focuses on West Side Story, In
the Heights, and Vivo, the four musical films that were chosen for their positive por-
trayals of Latin American immigrants. The aforementioned films succeeded in human-
izing the immigrants and portraying them as individuals worthy of dignified and hu-
man representation by utilizing themes such as love, authenticity, etc.
5
VIVO
Declaration
I hereby declare that this thesis with title Immigrants and Immigration to the US in
Musicals: From West Side Story to Vivo I submit for assessment is entirely my own
work and has not been taken from the work of others save to the extent that such work
has been cited and acknowledged within the text of my.
Brno November, 30 2022

Alisa Ryzhenko
7
VIVO
Acknowledgments
I would like to thank my supervisor Mgr. Tomáš Kačer, Ph.D, for his patience, support,
and advice he kindly provided. My sincere thanks also goes to my parents for always
supporting and encouraging me. To my beloved friends, thank you for being around
and making these years tolerable.
Šablona DP 3.4.1-ARTS-dipl-program (2022-11-10) © 2014, 2016, 2018-2021 Masarykova univerzita 9

OBSAH
Table of Content
1 Introduction 14
2 Hispanic and Latin American Immigrants in Film 17

2.1 Stereotypes in Media and Film 17
2.2 The Latino Media Gap 20
2.3 Negative Perception 22
3 Latin American Representation 28

3.1 In Media 28
3.2 In Movies and TV 31
4 Musicals 34
4.1 The Chosen Musicals 35
5 Analysis of Representation of Hispanic and Latino Immigrants in West Side

Story (1961) and its 2021 Feature Adaptation 45
5.1 Positive Authentic Characterization 45
5.2 Humanization of Immigrants: Love Stories 51
6 Analysis of Positive Representation of Hispanic and Latino Immigrants in

the U.S. in Vivo (2021) 54
6.1 Musical Representation 54
6.2 Love 59
7 Analysis of Positive Representation of Hispanic and Latino Immigrants in

theU.S.in/ntfie//ei0Jits(2O21) 62
7.1 Ordinary Latin American Characters 62
7.2 Positive Roles and Characters 65
7.3 Diversity 67
6 Comparison of Representation of Hispanic and Latino Immigrants in the

West Side Story, In the Heights, and Vivo 71
6.1 Humanization 72
6.2 Panethnicity 74
6.3 Love as a Theme 76
11
OBSAH
7 Conclusion 81
Works Cited 86
12
INTRODUCTION
13
INTRODUCTION
1 Introduction
While a lot has been written and researched when it comes to the place of Latin
American immigrants in other film genres, scarcely any research has been conducted
on their participation in musicals. It is important to consider the participation and rep-
resentation of Latin American immigrant populations, especially in films and musicals,
for several reasons. First, the fact that they moved across the border means that they
are constantly in search of both a geographical and ideological space where they be-
long. However, they must grapple with the issues of stereotypical representation and
authenticity. A huge part of such stereotypes is produced by the negative representa-
tion of Latinos in films and pop culture content. Given the significance and memorabil-
ity of musicals, it is important to explore the representation and positive portrayal of
Latin American immigrants in this film genre. This thesis makes use of four popular
musical adaptations, West Side Story (the original and its modern remake), Vivo, and In
the Heights, to tell the story of Latin American immigrants' representation in film, its
past, history, and future implications.
The past few years have increasingly seen Latinos emerge as a powerful force
in American society. There are many factors that lead to this assertion. The first im-
portant factor to consider is the rate at which the population has grown over the past
few decades. As of 2020, the Latino population amounted to around 53 million, which
makes it one of the fastest-growing populations when it comes to ethnic groups. Thus,
Latinos comprise about 17% of the total US population. What is more important in the
14
INTRODUCTION
context of the movie industry is the fact that a huge portion of this demographic is very
young. They make up over 20% of the key 18-34-year-old marketing demographic
(Negron-Muntaner, et al. 1). On top of that, their influence in the film and media indus-
try is huge compared to other demographic groups. For instance, research revealed
that compared to the general population, this demographic is more likely to attend
movies and listen to the radio. Furthermore, they are one of the demographic groups
that have a steadily increasing purchasing power. The past few years have seen steady
growth in the overall purchasing power of the Hispanic population. For instance, by
2015, it estimates to reach around $1.6 trillion. For context, if Latin Americans were to
found a nation consisting of Latinos only, then their economy would be ranked the 14th
largest in the world (Negron-Muntaner, etal. 1). Even in the digital space, Latinos dom-
inate as one of the most prominent groups of content creators and media consumers.
It makes them one of the most influential demographics.
Given the focus of this research, it should be noted that Latinos and the Hispanic
population are notoriously selfish with and protective of their image, particularly in
the media. This phenomenon can be explained by multiple cases of poor representa-
tion in the media. Correspondingly, over the years, such cases of poor representation
have often been met with a lot of resistance. Where films are seen to have either an
anti-Latino message or poor representation, there has always been a lot of protest and
backlash. With the advent of such powerful advocacy tools as social media, these pro-
tests have grown increasingly powerful and effective in keeping the studios and pro-
duction companies in check (Lopez). Equivalently, those stories and movies that have
15
INTRODUCTION
compelling stories featuring Latin American immigrants are almost always rewarded
with high ratings, which translates into a lot of revenue for the studios and production
houses. Nevertheless, there is still a lot to be done with regard to the levels of Latino
participation and representation, particularly in the mainstream media. Specifically,
changes should target stories and participation levels since, despite all the progress
and accountability, the general rates have been very low over the past few years. A
review of the top movies and television programs over the past few decades indicates
that there has been a general narrowing of roles and range of stories, with fewer Latino
lead actors today than there were seventy years ago (Negron-Muntaner, etal. 6). How-
ever, ideally, the population increase among Latinos should translate into more roles
and greater participation in the industry. To illustrate, the growth rate of the Latino
population between 2000 and 2010 was 43%, but the rate of their participation, in the
film industry, both in the films as actors and behind the scenes in the production teams,
increased only marginally (Negron-Muntaner, et al. 1). In the future, it should ideally
lead to more compelling and positive stories as Latin American immigrants continue
to integrate more into society.
16
HISPANIC A N D LATIN A M E R I C A N IMMIGRANTS IN FILM
2 Hispanic and Latin American Immigrants in Film
Before delving into the representation of Hispanic and Latin American immigrants
in musicals, it is important to explore several themes of their general representation
and place in film in general. There are two important aspects of the representation and
place of Latino immigrants in film, which almost always will spill over into the musical
genre.
2.1 Stereotypes in Media and Film
Even in situations where Hispanic and Latin American immigrants are actually
represented in film and TV, the representation is guided by strong stereotypes. The
issue of stereotypes and their influence on the representation of Latinos in the media
is especially serious considering that they often come from actual, real-life beliefs
about Latinos. For instance, for many people, the common image of Latinos is a group
of brown-skinned Spanish-speaking immigrants who mostly came from Mexico with
the aim of looking for jobs or stealing jobs from deserving Americans. The origins of
this stereotype can be traced back to the 1960s, the peak of the Chicano movement
when many Hispanics arrived in the US. Since that period, Hispanics have been labeled
or perceived through the prism of such stereotypes (Abramson 314). In films, main
Hispanic roles were mostly played by North Americans, while true Hispanics were usu-
ally only seen in small supporting roles. The basic assumption that all Latinos are equal
allowed this practice to continue; because dark skin and bulging white eyeballs seemed
17
H I S P A N I C A N D LATIN A M E R I C A N IMMIGRANTS IN FILM
to be what excelled in Latino roles. Often these features were created artificially
through makeup. Some of the earliest Latino representations were actually White
actors with the infamous brown face, individuals who darkened their face and skin to
appear Hispanic. In most cases, such actors, popularly known as greasers, would play
thieves, rapists, and other types of doomed souls. These characters were individuals
whose souls could not be redeemed because they were Mexican. It was the beginning
of the poor representation of Latinos in film, which was deeply embedded in popular
culture. Surveys have further indicated that despite the fact that society became more
aware of the negative effects of such characterization and has been working hard to
eradicate it, this representation largely persists even to date. For instance, in a poll
published by Reny and Mazona, the results showed that Latinos were mostly seen or
represented as dishonorable and untrustworthy members of society. In the poll, the
respondents reported that they saw Latinos as criminal gang members in 71% of cases
in film. A further 6 1 % of the time Latinos were represented in film, they were seen as
maids and laborers, or lower class in general (Reny & Manzano 195).
There are several stereotypes that plague the Latino community, especially
when it comes to their representation in the media. In the past, attempts have been
made to summarize the general tropes and stereotypical categories in which Hispanic
immigrants are classified in film. Across media and film, there seem to be five general
categories of Latino representation (Akines 24). The first one is probably the most
common stereotype - the criminal. This projection of Latinos in the media shows them
uniformly as rebels against the law. Usually, Latinos are represented as drug lords and
18
corrupt businessmen who are not afraid to kill anyone to get their way. There are sev-
eral films that have demonstrated this kind of stereotypical representation. In the re-
cent past, films and TV series such as On My Block on the popular streaming platform
Netflix presented the members of the Latino population, mostly immigrants into the
US, as either criminals or criminal enablers. They are often portrayed as engaged in
money laundering, gangs, and murder. Gang leaders and members are killed or at-
tacked and hurt, and there is a general belief that there is no way to escape this life for
any Hispanic immigrant, especially males
The second one is the sexpot, which is a characterization almost always as-
cribed to female characters. Given their body shape, their level of confidence, and atti-
tude, Latinos are almost always perceived as sexual objects, mostly designed for the
male gaze. Overall, Latin Americans, especially women, are represented as loud, feisty,
and sexy.
The third category is the clown, which is not as common in the contemporary
film as it used to be in the past. In this case, the Latino character will be portrayed as
simple-minded and therefore targeted as the object of ridicule. They are likely to have
very little mastery of the English language and have childish emotionality.
Another category is the servant. In many movies and TV shows that feature His-
panic or Latino immigrants, female characters are portrayed as maids while male char-
acters are usually involved in physical labor. In most cases, these workers are mostly
employed by White high-class wealthy families. In many cases, they will be undocu-
mented workers or live in the country illegally.
19
The final category is the immigrant. While in most cases these characters are
almost always identified as immigrants, the immigrant trope is one where the charac-
ter and their nature are defined almost solely by the fact that they are immigrants, of-
ten illegal or undocumented. Hollywood fixed these stereotyped ideas about Latin
American immigrants and spread them around the world.
When dealing with immigrants, some people may find interacting with the
members of other in-groups too intimidating or unpleasant, reducing the number of
opportunities for such face-to-face contact. There is, however, the option of indirect
touch, which can take many forms. Indeed, normative elements such as laws, institu-
tions, the media, and political interest influence the context in which indirect contact
occurs. Indirect interactions can take numerous. Imagined contact is a type of indirect
communication in which people from different social groups are imagined to meet and,
ideally, interact favorably. Positive imagined contact can strengthen group relation-
ships (Vezzali, etal. 343). This is true even in highly emotional, contentious, and biased
situations (West et al. 60). When people are exposed to groups they have been taught
to fear in non-threatening situations, imagined contact frequently results in enor-
mously positive perspective shifts.
2.2 The Latino Media Gap
Another important aspect of Latino representation in the media is that of the
Latino media gap. The general idea is that the proportion of Latinos in the general po-
pulation does not correspond to their representation in film. It is a separate issue from
20
that of the stereotypical representation and one that is important to explore, especially
when it comes to films and musicals. Research into the idea of the Latino media gap
reveals several interesting conclusions. First, in general, the participation of Latinos in
the media has increased only modestly since the 1940s (Negron-Muntaner, et al. 2).
However, the proportional rates of representation are actually lower than in the past.
Thus, in the 1950s, the Latino population accounted for only a measly 2.8% of the ove-
rall population of the country. Looking at the top 10 films of the time, 3.9% of the lead
actor appearances were Latino individuals. One would expect that with any growth in
the population, the rate of lead actor participation would also grow (Negron-Muntaner,
et al. 2). However, a review of the past few years shows that this is not the case. For
instance, although Latino Americans comprised 17% of the total population in 2013,
there were no Latino lead actors roles in the top 10 movies and scripted network TV
shows at the time (Negron-Muntaner, et al. 2).
Another interesting conclusion is that gender-related differences tend to influ-
ence the representation. Over time, even though the number of Latino men as leading
actors has gradually decreased, the percentage of female lead actors in these films is
on the rise. It is also important to note that stereotypes affect the level of representa-
tion in general. The fact that Latinos continue to be presented in the five categories
mentioned earlier only means that the number and extent of their involvement in the
film are almost always limited. They can only be cast in limited roles and stories (Ne-
gron-Muntaner, etal. 2). The focus on Latino and immigrant representation in film and
21
movies is another important aspect, especially given that there is a financial merit or
imperative for the involvement of Latinos in film.
2.3 Negative Perception
The media plays a huge role in shaping perceptions of people and how they treat
the outgroups. Negative public and media discourses on immigration generate anti-
immigrant sentiment and are often the result of anti-immigrant rhetoric during
election periods (Conzo, Fuochi, and Anfossi). Those who read immigration-related
media that use politically correct language, on the other hand, are more inclined to ad-
vocate for laxer border controls and immigration policies. These events can be charac-
terized in terms of interactions and conflicts between different social groupings, accor-
ding to social psychology. The spread of a negative immigration narrative raises out-
group threats (from immigrants) and emphasizes the disparities between in- and out-
groups (Pizzaro, et al. 3). As a result, perceptions of ingroup superiority are reinforced,
as are feelings of outgroup discrimination and prejudice.
Negative portrayals of immigrants in the media can amplify discrimination in
social and economic interactions, as well as increase prejudice and support for anti-
immigrant politicians and policies. Any type of transaction between a buyer and a ven-
dor, a borrower, and a lender, or an employer and an employee is permissible. In trust
games, natives trust immigrants less frequently than natives do, and this reciprocity
gap grows if natives have negative attitudes toward ethnic diversity and immigration
(Pizzaro, etal. 4). Low levels of trust, reciprocity, and altruism impede cooperation and
22
the efficacy of economic exchanges. As a result, anti-migrant rhetoric may have an
unexpected and possibly unfavorable economic impact. To be more specific, negative
media depictions of immigrants can lead to animosity and decreased levels of prosoci-
ality in transactions with immigrants (Conzo, Fuochi, and Anfossi). However, this can
also lead to higher prosociality toward natives due to ingroup bias or comparable phe-
nomena, such as parochial altruism. Positive media images of immigrants, on the other
hand, may enhance altruistic behavior toward immigrant business partners. Indirect
positive intergroup contact, such as viewing positive depictions of outgroup members
in the media, is associated with greater positive attitudes toward the outgroup. As a
result, as previous research has demonstrated, positive media portrayals of immi-
grants may help to bridge the gap in reciprocity between immigrants and natives.
However, partners can only be identified through fully informed exchanges. In-
dividuals frequently negotiate many markets with incomplete information and unfi-
nished agreements. Given the ethnic diversity of these markets, natives in these con-
texts can only make educated judgments about the likelihood of seeing immigrants.
Ethnic variety has been proven to have a negative impact on people's desire to trust
one another, particularly in smaller-scale settings. Thus, when exposed to negative re-
presentations of immigrants in marketplaces or cultures with moderate or high ethnic
diversity, native people's prosociality is likely to be lower (Conzo, Fuochi and Anfossi).
This could be because of ingroup bias or because ethnic diversity raises concerns about
how to define and enforce prosocial standards among its members. In contrast, when
the likelihood of interaction with immigrants is small or close to nil, ingroup favoritism
23
may lead to higher prosocial behavior (ethnically homogenous marketplaces). Positive
depictions of immigrants in the media may be one approach to counteract the adverse
association between ethnic variety and prosocial behavior. A lack of awareness about
potential transaction partners can lead to more objective decision-making which can
help to put negative media depictions of immigrants to rest. When picking whom to do
business with, another alternative is to trust one's intuition and hopes. Negative media
depictions of immigrants, along with a lack of information about transaction partners,
may lead to increased suspicion and fear, resulting in less prosocial behavior.
2.3.1. Immigration and Dehumanization
Dehumanization of immigrants is not a uniquely American issue but rather one
that is almost universal in the way it manifests itself. These effects often only manifest
in subtle ways. For example, if a person belongs to a minority group, they may be more
prone to undergo infrahumanization as a result of prejudices about black immigrants
(in comparison to white immigrants) as disease carriers and adversaries in resource
competition (Pizzaro, et al. 2). There are different complex interactions of factors that
make the mere process of movement of immigration perhaps the least influential part
of the entire manifestation. The kinds of welcome and the treatment received when it
comes to immigrant populations depend on the levels of similarities that one might
find between them and the immigrants. Immigrants are a burden or bodily suffering
when the nation is portrayed in terms of the body (i.e., a body), and an invasion, theft,
or even deadly floods when the nation is described in terms of a house (i.e., a house).
Finally, there have been reports of increased anthropomorphism, increased implicit
24
face association with machines, decreased face association with human traits, and an
increased perception of savagery and worthlessness among migrants (Berti, Pivetti,
and Di Battista).
Secondly, the phenomenon is not one that can be adequately explained through
the focus on ingroup favoritism. Even though there are many negative stories of immi-
grants, this does not necessarily always mean that there is an express form of in-group
favoritism. Instead, there are both positive and negative attributions involved. Third,
this is not a matter of interpersonal relations, but one of the intergroup relations. What
this implies is that the treatment and attribution of immigrants is not the result of ha-
tred or negative perception of certain particular immigrants, but a matter of a general
view of them as a group. Finally, even though infrahumanization has served as a ne-
cessary element in extreme intergroup violence, the presence of intergroup conflict is
not indispensable for it to happen.
Given the current geopolitical atmosphere, combating the new type of prejudice
that infrahumanization represents is critical (McKee). The fact that even in a democra-
tic society infrahumanization is feasible shows the seriousness of the issue. Numerous
authors have examined the media's representation of immigrants and asylum seekers
in depth due to the huge variety of biases that can be induced by degrading discursive
metaphors (Pizzaro, et al. 2). The media, in particular, frequently depicts migration
processes in an attempt to examine reasons and factors, but objectivity is not always
assured. However, and perhaps most importantly for the topics explored in this paper,
is the premise that western media is frequently at the heart of this picture and
25
narrative. By generating an uncertainly crisis in which immigrants and refugees are
depicted as enemies, Western media might unintentionally foster various forms of
prejudice, infrahumanization in particular.
2.4.2. Imagined Positive Contact
The mention of positive depictions in the media with regards to immigration
and Latin American immigrants in the previous section opens the door for the analysis
of how positive depictions in the musical films being studied here, and the fact that
they were musicals, is important in the larger conversation. This opens up the discus-
sion to the idea of imagined positive contact, and how these films can be seen as a site
for it. The contention here is that being musicals, they offer a non-threatening environ-
ment within which the imagined positive contact can then be had, leading to potential
changes in the perceptions against immigrants.
Humanizing the outgroup (making them appear more cultivated, educated, lo-
gical, and reasonable) has been shown to increase people's openness to interacting
with them, whereas meta(de)humanizing the outgroup (making them appear less cul-
tivated, educated, logical, and reasonable) has been shown to influence people's reacti-
ons and understandings of an imagined prosocial intergroup interaction mediated by
positive social emotions and feelings) has been shown to influence people's reactions
and understandings of an imagined prosocial inter (Borinca, Tropp, & Ofosu, 2021).
The extent to which a person initially dehumanizes an outgroup lays the stage for ne-
gative, ambiguous intergroup encounters. It's worth noting that those who have a
stronger proclivity to dehumanize members of the outgroup may have a more negative
26
reaction to interactions with members of that group. Given the extent to which there
has been a lot of negative perception of immigrants, particularly from films over a long
period, the study of the effects of the musicals and how they portray immigrants and
Latinos is important.
27
LATIN A M E R I C A N R E P R E S E N T A T I O N
3 Latin American Representation
3.1 In Media
To understand Latin American representation in the media, it is important to
first comprehend Latin American identity in the United States. At face value, Latin Ame-
rican identity should not really exist, especially given that there are Latinos from many
different countries, all with different cultures and belief systems. Even among Latinos
from the same country, there are intersectional issues at play. For instance, Black Lati-
nos might not necessarily have the same life and experiences as the White Hispanic
people. Furthermore, things such as religion or sexual orientation might also imply ha-
ving different identities. Nonetheless, regardless of these subtle differences, there is
Latin American identity, which has been attributed to the existence of pan-ethnic iden-
tities in the United States.
Another huge part of the development of this Latin American pan-ethnic iden-
tity is the political fear-mongering that has particularly been rampant over the past
few years. Even in situations when the country is progressing and safe and the levels
of employment are high, politicians will still be prone to nationalist fear-mongering.
Politicians often want to present themselves as radicals, saviors of the citizenry, taking
the country from a state of squalor to one where it exemplifies the true excellence. The
absence of true issues to speak about leads to a temporary artificial panic, with the race
being one of the most commonly mentioned subjects. Stories such as caravans of immi-
grants and Mexican rapists coming to steal jobs have dominated the narrative. It has
28
contributed to the general belief about Latin Americans as a single homogenous threat
to the American way of life (Keohane). It is this siege mentality, us versus them per-
ception, that ultimately results in the pan-ethnic representation.
Racial and ethnic categorization in the United States has contributed to the rise
of pan-ethnic identities. Latinos are a racial stereotype for Latin Americans and Hispa-
nic Caribbean immigrants. Those born in the United States but of a different ethnicity
or socioeconomic status than the majority of the population, those who immigrated to
the country as children, and those from Puerto Rico and Mexico who are now citizens
are all included in this group. Chicanos, for example, were separated from the Mexican
government and their cultural roots as a result of the Mexican-American War in 1848.
Similarly, Puerto Rico did not become a formal part of the United States until 1898.
Since it was conquered as a result of the Spanish-American War, the United States has
effectively ruled the archipelago as a colony. The Jones Act, passed by Congress in
1917, established Puerto Rican citizenship in the United States (Nieves-Pizarro 31). As
a result of economic hardship, migration waves from Puerto Rico to the continental
United States began after WWII and have continued to the present day. Many Puerto
Ricans have immigrated to the United States, primarily to major cities such as New
York and Chicago and more recently to Florida, the sunshine state.
Greater mobility between the US and Puerto Rico has contributed to a strong
sense of Puerto Rican national pride. Latinos of all ages, socioeconomic backgrounds,
and origins flock to this area in the United States for a variety of reasons, including the
development of personal and communal identities and the satisfaction of basic needs.
29
Furthermore, academics see Latino identity construction as an ongoing process. Latino
identity is based on shared cultural traits, the acceptance of "Latinos" as an ethnic ca-
tegory rather than an ethnic category based on a person's country of origin, a focus on
similar political issues, and growing social and cultural ties between people of different
Latino ancestries. However, acceptance or rejection of this identity will vary greatly
depending on the socioeconomic status, ethnicity, religion, gender, sexual orientation,
immigration status, and age group. What it means to be Latino is interpreted in various
ways, some of which contradict one another (Lavariega 51).
The widespread marginalization of Black people in the Caribbean and Latin
American culture shapes Afro-Latinos' sense of self. Some academics who study Latino
identity emphasize the multiethnic nature of this concept. Individuals from a pan-eth-
nic group may be citizens of different countries, but they share cultural and linguistic
similarities that transcend their ethnic backgrounds. Latinidad and latinismo are other
terms for Latino culture and identity (Lavariega 52). Latino identity is founded on a
number of cultural tenets, including but not limited to the Spanish language, racial and
ethnic diversity, political participation, and immigration (Lavariega 52). However,
there are many differences in terms of background, economic status, and sense of self
among Latino communities. When the history and location of the settlement in the Uni-
ted States are considered, Mexican Americans and Puerto Ricans emerge as two dis-
tinct groups.
30
3.2 In Movies and TV
In the media, males of Latino descent are portrayed as criminals more freque-
ntly than their White counterparts, whereas Whites are portrayed as people upholding
or enforcing the law. This is a widespread media trope and stereotype about Latinos.
Urban Latinos are frequently portrayed in the media as being involved in gang activity
or the drug trade. They will almost always be portrayed as outcasts intent on causing
disruption and profiting from illegal activities. Most films portray Latinos as illegal
immigrants with deep ties to the domestic criminal underworld who arrive in the Uni-
ted States only to enrich drug dealers south of the border. All of these descriptors are
typical of pan-ethnic identities that fail to differentiate between Latinos.
In the media, Latinos are mainly presented by the images of immigrants, often
referred to as "illegal aliens" or "illegal immigrants," who pose a threat to native-born
Americans (Mastro, et al. 135). Politically motivated views, such as those cited by
Keohane, contribute to the perpetuation of the stereotype that Latinos represent a "ri-
sing brown tide" that will soon destroy White America. Although the representation of
Latin Americans in the media, particularly online, is largely depressing, but this is not
absolutely negative. As an illustration, the media has enhanced the portrayal of Latinas
and Latinos by covering more community events and organized protests. Nevertheless,
the entertainment industry frequently depicts Latinas and Latinos as stereotypical, su-
perficial characters, perpetuating the negative stereotypes of Latin American immi-
grants (Erba 83). For instance, while the primary trait of Latina and Latino characters
in these shows is their physical appearance, Latino male characters are typically
31
portrayed as criminals, who are less intelligent and more slothful than White charac-
ters (Erba 83). Cultural shifts have resulted in the replacement of older stereotypes
about Latino men in the film with newer ones, for instance, "El bandido" (the bandit)
has been replaced by a gang member. Latinos are frequently portrayed in the media as
violent, knife-wielding criminals, while Latinas are portrayed as either selfless virgins
or manipulative sexual temptresses. The depiction of a "Latino cocktail" is a Hollywood
staple (Erba 83).
According to a study by Negron-Muntaner et al. on the portrayal of Latinas and
Latinos in the media, "stereotypical storylines and characters who were coded as cri-
minals, law enforcement officers, and blue-collar workers continue to dominate tele-
vision shows, movies, and news" for Latinos. Latinas are frequently cast in sexual or
subservient roles. Guo and Harlow observed that only one in more than a hundred vi-
deos with Latina/o characters did not use Latina/o stereotypes (Guo & Harlow 290).
Rarely do media studies examine how Latina/o audiences interpret and respond to
media images.
Due to the prevalence of these depictions in popular cultures, such as movies
and music videos, the effects are not merely superficial. Media portrayals have real-
world consequences. Erba discusses negative and stereotypical media portrayals and
their consequences. High rates of exposure to English-language mainstream media are
associated with low self-esteem among adolescent Latinas and Latinos. According to
qualitative research, Latinas have varying degrees of faith in the impact of media por-
trayals on their sense of self and the manner in which others interact with them.
32
Although the Latinas surveyed in these studies did not all reach the same conclusions
regarding media portrayals of their culture, they all expressed concern over the per-
petuation of negative stereotypes. Teens of Latino descent were aware of the stereoty-
pical depiction of their community by the media, but they also urged researchers to
consider the diversity of their audience.
There is also the issue of stereotype threat, which is the belief that people from
certain groups might feel the pressure to counteract popular stereotypes about them-
selves. In other words, people might by all means change their behavior in order to
avoid confirming stereotypical views about themselves. This concept was first used in
a bid to explain the differences in test results between Black and White students. It was
hypothesized that, when under the pressure to perform well on tests, African American
students would be very anxious about possibly confirming stereotypes about their
ethnic group and thus be more likely to fail exams (Erba 83). The same can be said of
Latinos in the United States following their representation in film. The four films under
study might be a perfect case to illustrate the idea of stereotype threat. The first movie,
West Side Story, is symptomatic of the kinds of negative representation and stereotypes
about Latinos that have existed for ages. However, the other two movies were inspired
and produced by Hispanic producers. It implies that stereotype threat might have been
the central idea behind the decision to then make such movies.
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4 Musicals
Musicals are one of the most engaging and impactful types of film and theatre.
There are four basic elements of musicals that are important to consider (Ahmed). The
main one is songs. Songs are brief musical compositions that contain lyrics. They are a
unique vocal and melodic combination (Ahmed). However, it is important to note that
vocals are not used in every song. In some musicals or musical sections, different in-
strumental pieces and aspects of music without words are also used to mimic voice,
which is used in typical songs. The lyrics are a crucial part of musicals and might in-
clude verses, shorter or longer, different phrases, and a refrain. Refrains are short
phrases that are repeated at the end of each verse. Most songs also have a meter, or
beat, with a certain pattern, or pulse. It is through these songs that actors tell stories,
express different emotions, and are able to communicate their beliefs, values, and the
central messages of the film.
Like any other movie, musicals also contain dialogue. Dialogue is traditionally
defined as the conversation between two or more individuals in a scene. Spoken dia-
logue in theatre and film is different, given that it is more structured, multidimensional,
and often targeted at a certain planned conclusion (Ahmed). The dialogue is useful in
conveying information, giving insight into the nature of different characters, and ex-
pressing emotions. Musicals are often accompanied by powerful and meaningful mes-
sages presented through dialogue.
The third aspect of the musical is the acting. This is a general performance art
that involves aspects of movement, changes in intonation, and the use of different
34
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gestures. It is through acting that fictional characters or reenactments are brought to
life (Ahmed). It combines the theatrical and the realistic, enabling filmmakers to tell
their stories. Acting, especially in musical theatre, is often seen as an exercise in exhi-
bitionism and imitation. However, it is much more than this, and can easily be and
breathes life into the words of the characters and the writers, adding soul to a charac-
ter. It is the acting that makes the film, whether it is a musical or not.
While this is not always the case, dancing is also an important part of the musi-
cal genre. In some cases, dancing is seen as a part of the acting. The dance is the visual
and often symbolic aspect of the musical. The dances are different and depend on the
history, age, place of origin, and choreography.
Musicals are some of the showiest and most emotionally impactful forms of film.
While each of the four elements is different in its own right, the musical will typically
combine them into one, sending and reinforcing important imagery and messaging.
4.1 The Chosen Musicals
The musicals that were chosen for analysis here are West Side Story (the original
and its modern remake), Vivo, and In the Heights , with the analysis also mentioning
different musical films that were produced during the period between these two. The
original West Side Story musical was produced in 1961, and then remade in 2021 (Se-
cades 2). Vivo was an animated film that was produced in 2021. In the Heights is a full-
lenghth musical film based on the stage musical of the same name. The general conten-
tion here is that in comparing these films and considering different musicals that were
35
MUSICALS
produced in the 60 years between them, one can then be able to carefully understand
the representation of the Latin American and Hispanic immigrants in film, and the evo-
lution, if any, of this representation (Truitt).
4.1.1 West Side Story
The analysis of the film West Side Story is complicated for several reasons. First,
the original film was an adaptation of a Broadway classic, one that elicited mixed re-
actions. According to some film critics, it was one of the worst musicals ever written.
The main reason for this characterization is that this musical explores some of the most
outdated and overused tropes and cultural representations of the Hispanic and Latin
American immigrant story (Wells 2). In contrast, the representatives of an alternative
school of thought believe that West Side Story is one of the most iconic productions and
representations of Latin American immigrant life and story, specifically in urban
settings. The analysis of the film, particularly with respect to the life of Latin American
immigrants, is further complicated by the fact that the 2021 remake by Stephen Spiel-
berg has important additions that were not there in the original musical. The immi-
grant story at the center of the film has been enriched in the 2021 remake in a way that
was not possible in the original (Tallerico). Nonetheless, the central theme persists.
West Side Story tells a story of how the forces of societal apathy, poverty, ex-
clusion, abandonment, and resentment, issues that might not be immediately apparent
at face value, can result in violence and tragic outcomes when there is a significant push
toward violence (Rutigliano). It is a musical film with Shakespearean undertones,
which tells the story of two sides feuding. The action takes place in 1950s New York,
36
MUSICALS
where there are two warring factions, in this case, the White Jets led by Riff and the
Latino Sharks led by Bernardo.
The story is set on the upper West Side of New York City, where the two gangs,
the White Jets and the Puerto Rican Sharks, are in a tough fight for territory. Riff, the
White Jets' leader, seeks out Tony, a former member of the gang and its founder, at a
high school dance to discuss how to challenge Bernardo, the Sharks' leader. It is impor-
tant to note that all the members of the gang and the neighborhood, in general, attend
the dance. At the same time, Maria, Bernardo's idealistic younger sister, has just re-
cently arrived from Puerto Rico. Maria has been arranged to marry a family friend na-
med Chino. Although Maria came to the dance with Chino, she confesses to Bernardo's
girlfriend Anita that she is not in love with him. Tony and Maria meet, dance together,
and eventually start a relationship that leads to tragic love, which is the main subject
of the story. Bernardo, however, disapproves of this relationship on the account of
their gang rivalry and hate and ends up pulling Maria away from Tony. Their love affair
is a trigger for both camps, and at this point, Riff ends up challenging Bernardo to rum-
ble. The two agree to meet at a neutral ground, where they discuss the conditions for
the planned rumble, including whether they are allowed to bring weapons.
On the day of the rumble, an argument ensues between Riff and Bernardo, and
the latter stabs Riff to death. Tony then uses Riffs knife to fatally stab Bernardo during
the ensuing outburst. Seeing this, Chino finds Maria and tells her what has happened.
Tony soon runs into Maria and confirms the story, and the two of them make a bold
decision to leave. While waiting to leave, Tony hides at a drug store with the rest of his
37
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gang. Anita, devastated by the news, implores Maria to leave Tony, but the girl insists
she is in love. Anita then goes to the drug store to inform Tony of Maria's decision, but
she is harassed and almost raped by the gang and is only saved by the doc at the drug
store. In anger, she ends up telling them that Chino has killed Maria in a jealous rage.
This news gets to the doc and finally to Tony, who is still in hiding. Tony, in pain, comes
out to the streets crying out to Chino and begging Chino to kill him too. However, he
sees Maria and runs to embrace Maria, but Chino also turns up and shoots him dead.
Tony dies in Maria's arms, leaving her bitter and resentful of all the killings and rivalry.
However, it is this death that eventually spurs a ceasefire between the gangs and a push
for peace. When the police arrive, both the Jets and the Sharks lift Tony's body away.
West Side Story is regarded as one of the most important and impactful films
when it comes to the representation of Latin American immigrants particularly Puerto
Ricans, in films. It is important to provide some context to the film and the relationship
between the mainland US and Puerto Rico, especially at the time the film was set in.
Although the film is primarily a love story between Maria and Tony, it also tells
the story of ownership and the fight for belonging and identity. At the center of the
story is a turf war between two gangs, who at their very core are fighting for identity
and belonging to what would then be their turf, a slice of the American Dream. Howe-
ver, more importantly, it is the story of Puerto Rican immigration. The 1950s and
1960s were the peaks in terms of immigration from Latin America to the US. Puerto
Rican immigration can be traced back to 1917 when the residents of the island were
granted US citizenship. The island was acquired from Spain in 1989, but it was not until
38
MUSICALS
1917 that Puerto Ricans were granted US citizenship. Decades later, particularly in
1945, there was a wave of immigration from the island, mostly for economic reasons.
It was the result of the transformation of the island from a monocultural plantation
economy to one focused on production for export.
4.1.2 Vivo
The musical Vivo was produced by Lin Manuel Miranda, who is famous for such
films as Hamilton and In the Heights. Looking at his history, Vivo was an unusual pro-
duction. The film takes the audience on a journey, an adventure that starts in the stre-
ets of Havana, Cuba, all the way to the Everglades in Florida and the city of Miami. The
main character is a gifted kinkajou named Vivo, who sets out on a journey with a group
of unlikely friends (Acevedo).
Andres Hernandez, a Cuban musician, and his kinkajou Vivo perform in a public
square. The day after their performance, Andres's longtime friend and fellow musician
Marta Sandoval send him a letter in which she announces the end of her musical career
and suggests meeting up again at Miami's Mambo Cabana, where Andres can perform
the love song he wrote for Marta. Vivo is happy with his and his wife's life in Cuba, so
he is reluctant to help Andres. Andres dies peacefully in his sleep the next morning,
and a funeral service is held in the plaza that evening. Andres' niece-in-law Rosa and
her daughter Gabi attend the funeral before returning to their home in Key West, Flo-
rida.
Vivo, regretting his initial reluctance, decides to play Andres' song for Marta. He
travels to Key West in Gabi and Rosa's bags. Gabi locates Vivo and offers to help him
39
MUSICALS
get Andres' song to Marta. Gabi and Vivo purchase bus tickets to Marta's show under
the guise of attending a cookie sale in town, but they are stopped by the Sand Dollars,
a girl scout troop interested in Vivo. Gabi and Vivo are late for the bus despite evading
them. They wander off into the Everglades, where they are separated by a freak storm
and forget the song.
While searching for Gabi, Vivo meets Dancarino, a roseate spoonbill who has
been unable to mate with a member of his own species. He succeeds in his pursuit of
Valentina thanks to Vivo's assistance. Later, when Vivo is attacked by Lutador, a Bur-
mese python, the two come to his aid. Meanwhile, Gabi discovers that the Sand Dollars
have tracked her down on a boat and are holding Andres' song hostage until she leads
them to Vivo. Despite saving the girls from Lutador's attack, Vivo interrupts the song.
Vivo considers returning to Cuba, but then he remembers that he knows the melody
and Gabi knows the lyrics, so the two of them could easily make a new version. They
travel to Miami in search of Marta, who has canceled her concert after learning of An-
dres' death.
Gabi and Vivo attempt to sneak into the Mambo Cabana, but they are stopped at
the door and Vivo is told to proceed without her. Her enraged mother and the guards
quickly apprehend her. Vivo delivers the song to a distraught Marta, who recognizes
him from Andres' obituary photo. Marta feels revitalized after hearing the song and
decides to perform. Then Vivo discovers Gabi and Rosa arguing in the car on their way
back to their house. Gabi says her father's death inspired her to offer her help to Vivo.
Rosa, moved to tears, calms her daughter's fears and returns to the concert with Gabi
40
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and Vivo in time to hear Marta perform Andres' song. In Florida, Vivo stays with Gabi
and Rosa. Gabi and Vivo, Marta's guests, put on a show in town.
Vivo paints the Latino immigrants in a positive light, establishing and maintai-
ning a relationship between the audience and Vivo throughout the journey. The origins
of the journey give some insight into a typical immigrant journey. The parallels are
unmistakable. In most cases, immigrants would be happy to stay in their home coun-
tries and live their lives, as depicted by the kinkajou. However, events will normally
conspire and push them across the edge, forcing them to come across the border. It is
normally a combination of ideological beliefs and unfortunate events that make them
cross the border. In this case, the kinkajou crosses the border to deliver a love song
written by his friend, who has died. This feeling of obligation to act for other people or
loved ones is the central theme in immigrant stories. In most cases, immigrants cross
the border to either protect or fend for their families through the meaningful work they
are likely to get (UNDESA). The determination that immigrants have to succeed against
all odds is another important theme or message that emerges in the musical. Things
are so stacked against immigrants that even dreaming of success would be akin to them
being eccentric or crazy. Therefore, there is little wonder that to deliver the song to
Marta, Vivo must be assisted by a rather eccentric teenager, who defies the laws of the
land and the natural rules to ensure they achieve their goals. There are subtle messages
here, which eventually lead to the symbolic depiction of immigrants in many different
aspects of their lives and livelihoods.
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MUSICALS
4.1.3 In the Heights
In the Heights is another musical film that explores the ideas of immigration and
Latino representation. Unlike the other movies, In the Heights has been dubbed a mo-
vie, which is not so great. Like Vivo, the movie stars Lin Manual Miranda, who features
at the beginning of the movie as a vendor. The movie tells the story of life in the Upper
Manhattan region through the tour guided by Usnavi De La Vega.
Usnavi owns a bustling corner bodeguita, and his cafe con leche is legendary.
He raps about the difficulties of running a small business in a rapidly gentrifying ne-
ighborhood, and the residents respond by singing about their own daily struggles to
make ends meet Despite enjoying his time in Washington Heights among its residents,
Usnavi misses his native Dominican Republic and its beautiful beaches. In a subplot
that is relevant to the current events, he hopes that his teenage cousin Sonny, who is
an undocumented immigrant, will accompany him. One of the most moving realizati-
ons in the movie In the Heights is the fact that everyone's ideas of home are different.
People have varying perceptions of the home depending on their circumstances
(Chang). Usnavi has long had feelings for Melissa Barrera's character, Vanessa. Howe-
ver, Vanessa wishes to relocate to the city in order to pursue a career in fashion design.
Nina, played by Leslie Grace, is an academic standout who has had a difficult year at
Stanford. Nonetheless, Nina's father Kevin encourages her to persevere, essentially
asking her what hope would she have for everyone else if she could not get out of the
Heights and succeed. Kevin, a Puerto Rican who moved to New York City decades ago,
is the owner of a Latino-run taxi service. While rents rise and businesses are forced to
42
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relocate, Usnavi's bodega receives a jolt of excitement when he learns that a customer
purchased a winning lottery ticket for $96,000.
In the Heights tells the stories of different Latino immigrants and how they eke
out a living, their individual circumstances, and how they relate to their ideas of home.
They are all visitors, and for each of them, the idea of going back home is different.
First, it is important to note that in all the examples given, immigrant characters are
involved in activities that enable them to earn a living or, at the very least, are doing
something make the ends meet. For instance, Usnavi owns the bodega, while Kevin has
managed to build up a rather successful taxi business. Vanessa wants to move to the
city to pursue fashion design, while Nina is at a crossroads, given her difficult time at
Stanford. Whatever the characters are doing, it should not be lost on the audience that
the immigrants do not have the luxury of simply being. None of the immigrant charac-
ters has the luxury of even failing in something or pivoting in a different direction. Alt-
hough individuals immigrate to the US due to varying circumstances, the bottom line
is that they always come to make something of themselves. Their work and success, in
some cases, go beyond what they actually do for themselves. For instance, Nina is asked
whether there could be hope for someone else if she dropped out of college. This is the
allusion that her success is symbolic of everyone else, especially the immigrants, who
would be inspired by her example to try to achieve the same success. The story is told
with several inspiring songs and dance renditions. In the Heights is about diversity,
dreams, and sacrifices. What is notable, is that the movie does not portray a perfect
society where everyone gets a happy ending. On the contrary, the characters are divers
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and more realistic. However, at the end, all of them are following the same idea - they
try not to lose their identity and origins, preserve the values of their culture and herit-
age.
44
A N A L Y S I S O F R E P R E S E N T A T I O N O F H I S P A N I C A N D LATINO IMMIGRANTS IN W E S T S I D E
S T O R Y ( 1 9 6 1 ) A N D ITS 2 0 2 1 F E A T U R E A D A P T A T I O N
5 Analysis of Representation of Hispanic and Latino

Immigrants in West Side Story (1961) and its 2021
Feature Adaptation
5.1 Positive Authentic Characterization
Hispanic and Latino immigrants have been positively represented in West Side
Story (1961) and its 2021 feature adaptation. Particularly, West Side Story is seen as
one of the most important and impactful films when it comes to the representation of
Latin American immigrants, particularly Puerto Ricans, in films. The positive represen-
tations are illustrated in the following sections.
It is important to consider several contextual factors to understand why and
how the representation of Latin American immigrants can be considered positive in
various films. First, there are two versions of West Side Story, which are markedly dif-
ferent from each other. The first film was produced in 1961, while the second one come
several decades later. The original film came at a significant point in America's history.
The 1960s was the time when Puerto Ricans were coming to the US in large numbers
following the end of the Second World War (Ancestry). Therefore, it was the first and
the only media representation of Puerto Ricans in popular American media at that
time. By the 1950s, Puerto Ricans were already recognized as a single group in the
country. However, they faced a lot of racism and xenophobia. This image of Puerto Ri-
cans was largely reinforced in the first West Side Story movie.
Despite the existence of a wide range of media representations, most of which
are photographic representations of Puerto Ricans as islanders, Puerto Rican
45
A N A L Y S I S O F R E P R E S E N T A T I O N O F HISPANIC A N D LATINO IMMIGRANTS IN W E S T S I D E
representation in American cinema was virtually nonexistent from the Spanish-Amer-
ican War era until the beginning of sound cinema. By the turn of the century, most
Americans had chosen to forget their Caribbean colonies, so the corresponding still
photographs were typically stored away as soon as they were developed. As a result,
while West Side Story was not the first musical to depict Puerto Ricans in a legal or
sociological context, it remains the most popular and cohesive. Other films starring
Puerto Ricans include The 12 Angry Men and The Young Savages, both of which were
released prior to West Side Story. However, West Side Story stands out as the first Amer-
ican cultural product to successfully portray Puerto Ricans as Americans rather than
islanders. As a result, it is not surprising that the portrayal of Puerto Ricans in the film
reflects the widespread stereotypes and misconceptions about the population. Thus,
Puerto Ricans are primarily portrayed in two ways: as violent criminals (mostly men)
or as helpless victims (primarily women). Such media portrayal makes Puerto Ricans
feel ashamed of their identity, and they sit at the crossroads of larger political debates
about the state of US-Puerto Rico relations and social stratification on the island. The
positive aspect of the new iteration of West Side Story is that the focus is not exclusively
on these negatives but also on individuality.
At the center of the representations was the idea that there was a certain level
of superiority and exceptionalism about the US compared to Puerto Rico. Puerto Rico
was shown as a country that had very little to offer, apart from the hurricanes and
pregnancies, whereas the United States was portrayed as a world of opportunities
(Hatzipanagos). Therefore, the implication was that Puerto Ricans that came to the US
46
were individuals who were hell-bent on succeeding by all means and thus highly likely
to become members of criminal organizations such as gangs, which are an important
part of the story. This one-dimensional definition of Puerto Ricans is a huge negative,
which is corrected in the newer West Side Story but further reinforced in the other
movies under consideration in the study.
Although not entirely perfectly, the second West Side Story musical shifts focus
from the single-minded, one-dimensional view of Puerto Ricans as a part of criminal
gangs or a community coming from a country somewhat less developed than the US.
Instead, there is a focus on diversity in terms of opinions and representation of Puerto
Ricans, especially in West Side Story. In the old story, male characters were gang mem-
bers and female ones were either innocent virginal girls or fiery spitfires. Generally,
they were mainly portrayed as poor people who were problematic to the city. How-
ever, in the newer West Side Story, the story is more authentic and focuses more on the
characters as individuals rather than a part of the community. There is also a certain
diversity in terms of dreams and ambitions. Not all characters are divided oh (in the
story are depicted as gang members or virginal women) gender dichotomy. Much more
attention is paid to their human attributes as individuals who desire meaningful rela-
tionships and can make their own decisions regardless of the pressure and influence
of gang violence or crime or what is expected of them in their own families.
Other contextual factors also make the positives identified in terms of the di-
versity of identity and representation more meaningful. There is a consensus that the
film West Side Story is not necessarily about Puerto Rican culture. The film has been
47
described as superficial in the way it represents Puerto Rican culture. It does not feel
real, least of all to Puerto Rican viewers. One of the different reasons why the film has
been seen as superficial is accents (Hatzipanagos). In fact, the actors' skin color in the
original film was darkened with makeup (Lee). In other words, there was little authen-
ticity in the film. Even though Puerto Ricans are a diverse group, with variations in skin
color and appearance, the movie focused on presenting Puerto Ricans as darker-
skinned individuals. In addition, the fact that it was a musical is another issue that adds
to the contextual differences. The first film was not a typical Hollywood musical. In-
stead, it focused too much on Latin American immigrants as being inherently musical
and performative subjects, individuals who were ready to reveal their sexual and indi-
vidual identity for a White audience at the drop of a hat. Any music that was used in
the film and described as Puerto Rican is instead a mix of American-made fusion music,
with such a wide range of rhythms that it is impossible to determine any national ori-
gins. As a result, the musical lacks the authenticity that was characteristic of the origi-
nal film.
The 2021 adaptation of the West Side Story musical contains a lot of authentic
representations of Latino immigrants, particularly from Puerto Rico. First, no actor in
the film was in brownface, which changes the discourse and shifts the focus from de-
fining Puerto Ricans almost exclusively by the color of their skin. Second, most of the
dialogues are delivered in Spanish, some without subtitles appearing on the screen,
which is an indication that, unlike the original movie, its adaptation was more repre-
sentative of the people of Puerto Rican descent and not necessarily focused on the
48
representation of Puerto Ricans solely to the American audience. Overall, the new ver-
sion of West Side Story feels more inclusive and more respectful.
The movie also focuses on white supremacy and its condemnation. One scene,
in particular, features the Jets mutilating a mural of the Puerto Rican flag along with a
quote from Pedro Albizu Campos that reads: "La Patria es valor y sacrificio" (The moth-
erland is courage and sacrifice) (Negron-Muntaner). Unfortunately, the reasoning for
this mural or the value of Campos's words on the big screen was not mentioned in the
movie. Another newly added aspect was the singing of the original version of "La
Borinquena" at the beginning of the film (West Side Story 9:58 - 10:55), which ended
up being the official anthem of the US territory after its lyrics were rewritten to become
less confrontational (Ford). These authentic representations and general focus on
Latin American rather than American gaze tend to paint the film in a better light in
terms of the representation of immigrants. The film shows Puerto Ricans from a differ-
ent perspective than the popular negative and stereotypical view, portraying them as
individuals with their own cultures and personalities.
The desire to enhance the presence of characters on the screen, who in the pre-
vious version suffered from prejudice or stereotyping, is noticeable in small things. For
example, in the scene of dating in the ballroom, Maria and Tony were given more pri-
vacy. Unlike her 1961's version, Maria is less timid and more strong-willed. She is not
afraid to make the first move and define her own destiny, even if it means disobeying
her brother.
49
Another noticeable thing is the song "America"(West side Story 01:00:59 -
01:05:42), the most incendiary in the entire musical. In Spielberg's version, Puerto Ri-
cans sing it not at night on the roof of a high-rise building but during the day on the
streets of the quarter. Furthermore, it is also important to note that half of the compo-
sition is sung by women - in the 1961 film, it was sung predominantly by men.
Minor characters have also been affected by this development. The most strik-
ing change occurred with the image of a character named Anybodys. In the older ver-
sion of the movie, it was a tomboy girl who dreamed of joining the Rocket gang. How-
ever, in the new version, this is a transgender youngster, played by a non-binary per-
son, Iris Minas (Butler). In addition, Maria's brother, Bernardo, is now a boxer. That
links him to one of the most popular and valued sports on the island and the Puerto
Rican diaspora. Ultimately, Spielberg's version of the film exposes much more subtle
references to Puerto Rican culture than its predecessor but does not give them the
space to transcend.
It is undeniable that West Side Story was never made for Puerto Ricans. It is a
film that exists for the purpose of satisfying a primarily white audience. However, Spe-
ilberg's effort to make the movie more inclusive, do justice to Latino representation,
and create a piece of Latino pride is beyond doubt, purpose of, the people who domi-
nated in front and behind the cameras are still white. The only thing that is being
widely criticized is the lack of POC in the movie (Negron-Muntaner). While Spielberg
has announced that at least 20 of the 30 "Sharks" are Puerto Rican, most are back-
ground characters (Medina), and many of the actors in the cast are of mere Latin
50
American descent, and not specifically Puerto Rican. The absence of visibly black peo-
ple of African descent is evident, with the exception of a few artists. Despite an alleged
attempt to have Puerto Rican actors in leading roles, many people were disillusioned
with the project. This attempt to broaden the participation of actors of Puerto Rican
descent is debatable due to the final decision to choose a Colombian and Polish woman
as the lead.
5.2 Humanization of Immigrants: Love Stories
Different factors impact the way one tends to treat and attribute value to people
from different social groups. Collective thoughts and attitudes toward the members of
different social groups vary depending on how they are viewed and portrayed (Bridges
and Mateut 397). Within the context of this paper, immigrants into the US, whether
illegal/undocumented or legal ones, tend to elicit different reactions from citizens and
are therefore treated differently than the US citizens. Such attitude to the members of
these groups is largely attributed to the indoctrination and perceptions that are built
and strengthened through film. For instance, West Side Story, particularly the first film,
came at a time when Puerto Ricans were summarily viewed as immigrants who were
disruptive and negative in nature, individuals who did not belong to the US and were
coming to the country only to participate in the crime. Furthermore, the uniform pan-
ethnic identity at the time meant that people associated all immigrants from Latin
American countries with the same kinds of imagery and messaging (Hatzipanagos).
These attitudes were dominant in the US in the 1950s and 1960s. The original West
51
Side Story affirmed and in some ways reinforced these beliefs, further adding to the
discriminatory tropes. Therefore, it is important to look into the positive attributes,
especially of the new West Side Story, with regard to how it humanizes characters.
The kind of discrimination that is related to dehumanization is referred to as
infrahumanization by Pizarro et al. This prejudice leads people to believe that their
own group is better than others. According to the authors, the level of humanity attri-
buted to others can be determined by the traits associated with them, in other words,
whether they are more likely to experience emotions and personality traits commonly
associated with humans, such as love and openness to new experiences, or those asso-
ciated with other animal species, such as happiness and being emotionally stable
(Pizzaro, etal. 2). This "new type" of bias is not limited to intergroup conflict scenarios
but has a widespread presence throughout society.
This idea of infrahumanization is described to have several important attri-
butes, all of which are seen in the way immigrants are treated in real life and are por-
trayed in the film. First, there is an attribution of a higher degree of humanity in favor
of the ingroup as opposed to the outgroup. In real life, political attribution of immi-
grants, especially from Latin American countries, has hardly ever been positive. In the
past, they were referred to as rapists and thieves and were often seen not as humans
who flee difficult conditions and deserve compassion and help but as people coming to
take advantage of the generosity of the country (BBC). In films, the same trends can be
seen. Latin American immigrants are hardly ever given positive attributes or even re-
garded as being capable of connecting with society in a normal way. Instead, they are
52
shown as being drug dealers and criminals, gang members, or maids and domestic se-
rvants. In West Side Story, Latin American immigrants are only shown within the con-
text of gangs, which seem to be the only or the most important influencing factor in
their lives. These gangs are the place where they find their identity and the custodians
of the rules they live by. However, it is refreshing to show an alternative lifestyle and
system, one where the characters in West Side Story musical no longer live by gang laws
but are presented as real-life individuals with aspirations and human attributes, indi-
viduals who can make decisions for themselves and express their desires instead of
blindly following what the gangs want or say. In West Side Story, such humanization
mainly happens through love as an important theme.
53
A N A L Y S I S O F POSITIVE R E P R E S E N T A T I O N O F H I S P A N I C A N D LATINO IMMIGRANTS IN T H E
U . S . IN Vivo ( 2 0 2 1 )
6 Analysis of Positive Representation of Hispanic and

Latino Immigrants in the U.S. in Vivo (2021)
The musical Vivo is an animated film. Even though sometimes it might be di-
fficult to discern the characterization of Latin American characters in animated movies,
in Vivo, there are enough references to the issue of immigration to either consciously
or subconsciously enable a proper analysis of the characters. The Latin American ani-
mated film Vivo is the second of the musical films that are under consideration use for
analysis of the positive representations of Latin American immigrants in film. There
are several representational aspects of Latin American immigrants and immigration in
this film that are worth mentioning.
6.1 Musical Representation
Music is one of the ways through which Latin American immigrants and immi-
gration are represented positively in the film. Although it might seem an obvious thing
for an animated musical film, there are some important details to consider to provide
some context. Vivo is associated with Lin Manuel Miranda, who is known for his hit
musical Hamilton. It is therefore not surprising that a huge part of the attraction of this
film is in the kind of catchy music that films like In the Heights and Heathers: The Musi-
cal are known for. However, what is more important, the musical draws from Cuban
music inspiration. One of the main characters of the film, Andres, is voiced by the le-
gendary Cuban bandleader Juan de Marcos.
54
U . S . IN Vivo ( 2 0 2 1 )
The film rides on a glorious wave of music, which maintains a theme of liveli-
ness and an upbeat mood all through. A perfect illustration of the use of music to re-
present the culture of the Latin American immigrants is the song "Mambo Cabana,"
which Andres sings as he tries to convince Vivo to overcome his fear and accompany
him to Miami:
This is my chance
To share another dance
In the Mambo Cabana
Mambo Cabana, Cabana, Cabana
[VIVO]
Whoa, whoa, whoa, whoa!
Slow down, things are moving too fast
[ANDRES]
We leave the old hometown
With this note from the past. (Miranda)
The scene when Andres begins singing and moving to the beat of the song is a
perfect illustration of how music and sensuality are an important part of Latin Ameri-
can culture and it will always serve as a sentimental representation and enhancement
of memorable events.(Gutierrez). In the film, music is presented as the universal lan-
guage that Latin American culture speaks.
Rather than show the negatives of Latin American immigrant culture, Vivo fo-
cuses on the positives, such as music as an important inspiration to Latin Americans'
55
U . S . IN Vivo ( 2 0 2 1 )
life and actions. More often than not, the representations of Latin Americans in films
are negative and based on stereotypical views and beliefs about their lives. The focus
on the music and sensuality and how it brings emotions to life and encourages action
is an important positive of the film. Latin American immigration is not only about stru-
ggle and negatives. Instead, through music, musicals are able to show that there are
some positives to Latin American immigrants (Acevedo). For instance, Gabi is filled
with youthful energy, making her partnership with Vivo one that is upbeat and inte-
resting.
When considering the music, parallels can be made between music inspired by
Latin American culture and American urban cultural musical styles such as hip hop. It
seems to be a deliberate attempt to make music a universal language that equalizes
everyone and shows similarities between the musical inclinations of Latin American
immigrants and those of urban cultures that dominate contemporary American cul-
ture. Some of the most iconic musical scenes in the film are those that involve a combi-
nation of Latin music, Broadway-style ballads and songs, and hip-hop (Scheck). It is
difficult to understand the positive representation of Latin American immigrants in
this regard without contextualizing it through the lens of the years of negative stereo-
typing in film.
The major way of painting an individual in a negative light is by showing them
to be different. Generally speaking people are less likely to relate to individuals that
they see or believe to be different from them. Different circumstances affect how peo-
ple see, understand, and treat others. People attribute higher or lesser forms of
56
U . S . IN Vivo ( 2 0 2 1 )
humanity to people depending on the level of emotional and physical proximity to
them. Thus, one is more likely to discuss and oppose individuals that they believe to be
not only different from them but also to threaten their normal way of life (Pizzaro, et
al. 2). In this case, rampant negative stereotyping and beliefs that immigrants are so-
mehow different and present a threat to the normal American way of life contribute to
the negative stereotypes about them. Nevertheless, immigrants are also shown positi-
vely in the film, particularly through their love and drive towards the very same urban
musical ideals that typical Americans enjoy and their beautiful native Cuban-inspired
music.
It is important to note that such characters as Gabi form an important part of
the collective ritual participation,, which creates a positive effect and in-group coll-
ective feeling of belonging. Generally speaking individuals develop their sense of
belonging and social identity in reference to the groups they belong to. In turn, these
elements of social belonging then contribute to the development of a positive in-group
evaluation. Granted, in the current multicultural world, it is impossible to have a coun-
try or culture that is based or focused on a single belief system. Multiculturalism exists
even in the film Vivo. However, this has not always translated to overall acceptance,
positive representation, and belief in humanity. Ultimately, people are motivated to
identify with their in-groups (Vargas-Salfate, Liu, and Gil de Zuniga 18). When it comes
to Vivo, one positive aspect is that the film attempts to find common ground through
collective ritual participation and perception to create a different in-group that is not
57
U . S . IN Vivo ( 2 0 2 1 )
necessarily based on the traditional system of the immigrant/native axis. Music is one
of the ways through which they do this.
When people have one thing that they identify with or which unites them regar-
dless of their differences, they are less likely to compare one another and believe that
there are salient differences between them. When a certain identification is strong in a
given society, the members of different in-groups in the said society tend to be less
motivated to engage in social comparison processes within the society. As a result,
there is a high likelihood of positive characterization of the national in-group over out-
groups as the individuals pursue a positive self-concept. These observations have been
evident when it comes to research on national identities (Vargas-Salfate, Paez, and
Oriol 2). In the film Vivo, the focus is on social identities rather than national ones. Thus,
there is no distinction between Latin American immigrants and Native American iden-
tities in the film. The characters enjoy the same type of music, understand the world
the same way, and struggle with the same kinds of emotions.
Similar rituals or symbols are not necessarily explicit; nonetheless, they play an
important role in identifying a unifying identity between immigrants, in this case, Gabi,
and average Americans of the same age. For instance, Gabi and Vivo communicate only
through song. However, it is enough to form a strong connection between them and
make their journey and relationship both entertaining and insightful. Their hilarious
one-liners are as funny as any relationship between friends. It removes the distinct
Latin Americanness from the characters and humanizes them, presenting them as a
friend group anyone would relate to. Another similar example is the friend group that
58
U . S . IN Vivo ( 2 0 2 1 )
Gabi is involved with, a gang of girl scouts who sell cookies and are heavily focused on
being environmentally conscious. This typical troupe of young girls makes the movie
more relatable to any young girl watching it than most movies, which would focus on
the differences between them. Although music is only a small part of the positive sym-
bolic representation of Latin American immigrants, this movie makes deliberate steps
to ensure that they are not shown as different but are presented as normal people.
6.2 Love
The theme of love is an important part of the positive representation of Latin
American immigrants in the film Vivo. Traditionally, Latin American immigrants are
generally shown as individuals that are suffering or face difficult predicaments and
thus are forced to escape their homes and come to the United States, usually illegally.
Alternatively, they might be shown as individuals with nefarious motives, who then
come to the US to take advantage of the freedom they get there in order to engage in
criminal activities. In both cases, immigration is painted in a negative light. Further-
more, immigrants are often shown as dangerous to the well-being of the nation, either
when they take up resources and opportunities, or when they engage in dangerous
activities. They are never humanized as individuals with needs and feelings, individu-
als who are driven by anything other than either self-preservation or selfish desire. In
this case, the theme of love is the only thing that humanizes the main character of the
movie.
59
U . S . IN Vivo ( 2 0 2 1 )
The film tells a story of a music-loving kinkajou who embarks on a journey of a
lifetime to fulfill his destiny and deliver his friend's love song. Even though the stakes
are high, the immigration or movement is not shown as the life or death rhetoric, which
is typical of immigration stories and is associated with criminal tendencies. In this case,
the main ideas behind the journey are devotion and the fulfillment of desires. The
whole film is also imbued with the love - not only Antonio's love for Marta, but for
music, freedom, and life in general. It is visible in every aspect of the movie as well as
in lyrics.
Immigrants and refugees are constantly represented in ways that dehumanize
them. The stories in and around immigration are often tragic. Many immigrants are
presented as coming with the focus of finding new opportunities to rebuild their lives,
or what is left of their lives. However, many of them often face anti-immigrant rhetoric
from social movements, political parties, and leaders with nationalist inclinations. The
past few years have seen such rhetoric lead to the militarization of immigration and
border control (McConnell, Kuus, and Jefferey 2). However, in the film Vivo, the charac-
ters are humanized and not presented as struggling immigrants or individuals who are
hell-bent on profiting from the immigration journey by engaging in criminal acts.
The humanization and positive effects that the film aims at are not limited to
the love story. Instead, pictures also help represent immigrants positively. In most
cases, immigrants are shown as individuals who have little choice in their immigration
story and are forced to move to the US. However, in this case, the story begins in
60
U . S . IN Vivo ( 2 0 2 1 )
Havana, Cuba. In the movie, Havana is depicted not as a dilapidated city but rather a
picturesque and brightly colored one. The main characters themselves, the aged singer
Andres and his kinkaj ou friend, are happy and fulfilled. They live a life doing what they
love, singing to the appreciative audience in the city. The event that changes their life
does not put them in danger but awakens past desire and belief in a love long lost
(Scheck). Eventually, they are not forced to go to Miami because of danger or greed, or
out of desperation, but make a conscious decision to do so. This fact paints immigrants
and immigration in a positive light in the film. In Vivo, Latin American immigrants are
shown as individuals with a level of autonomy and agency, who are in many ways si-
milar to average people and make decisions based on the things and people they love.
There is a collective focus on belonging love, and humanity rather than on
highlighting the differences between immigrants and citizens. Many immigrant stories
are about the sheer force of the will to fight against all odds to immigrate or about
different immigrants' life when they make the move. However, this story is one of love
and joy; it focuses uniquely on the continuity between the two worlds, the one in Cuba
and the one immigrants seek in Miami.
61
U . S . IN IN T H E H E I G H T S ( 2 0 2 1 )
7 Analysis of Positive Representation of Hispanic and

Latino Immigrants in the U.S. in In the Heights (2021)
Like the other three movies under consideration in this study, In the Heights
also has important positive imagery and representation of Latin American immigration
and immigrants. There are several notable themes, such as accurate sociopolitical
readings on identity, immigration, gentrification, class consciousness, and race, that
made this musical an apt example of positive representation.
7.1 Ordinary Latin American Characters
Like in the other two movies, it is impossible to analyze and properly un-
derstand the positives without considering the historical negative representation of
immigrants in film. In fact, many scholars have pointed out that one of the most dama-
ging films with regard to the negative representation and stereotypes about Hispanic
and Latino immigrants was West Side Story and that In the Heights was somehow a
response to this (Romano). One of the main ways in which this film responded to the
negative representation of Latin American immigrants in West Side Story was by pre-
senting them as ordinary citizens and individuals. Though it might seem insignificant,
within the context of how Latin American immigrants have been treated in the past, it
is an important distinction to make.
At the beginning of the movie, there is a scene where different Latinos are going
around their daily lives, such as people getting ready for work and children going to
school, as in a typical small-town setting. In this scene, Usnavi sings about the people
62
on his block in Washington Heights, about everybody having a job and everybody ha-
ving a dream. This is the first case of such an ordinary representation of Latin Ameri-
cans in the film. There is no struggle to show a certain kind of immigrant in film or to
debunk myths or stereotypes. Instead, the focus is simply on ordinary people that are
living and working in a neighborhood. Ironically, the fact that the film does not directly
focus on challenging stereotypes ensures that it offers a direct response to stereotypes.
Latin American immigrants and immigration have had to contend with negati-
vity on screen for a long time. The focus on a specific neighborhood here is an impor-
tant part of the story. In the past, one of the negative stereotypes that plagued immi-
grants is the idea that they would normally take over neighborhoods that were safe
and quiet (and/or dominated by people of other cultures) and turn them into places
that are only inhabited by immigrants. These neighborhoods then become centers or
dens of iniquity and crime (Sanchez-Junquera, Chulvi, and Rosso 9). In turn, the asso-
ciation of immigrants and their neighborhoods with crime influences how immigrants
are understood and treated, highlighting the negative effects of stereotypes. In the mo-
vie In the Heights, the presentation of the immigrants is different. The movie presents
Latin American immigrants in the Washington Heights neighborhood as ordinary peo-
ple, each with their own joys and triumphs, and each with their own struggles. Notably,
these are not struggles unique to immigrants but issues that everyone faces.
There are different narratives and stories in the film that further reinforce this
characterization. Each of the characters has a unique story, which shows them as or-
dinary individuals with ordinary struggles. Usnavi De La Vega plays the lead, and he is
63
both charismatic and emotionally compelling. He is a gifted musician who excels at ra-
pping. After his parents emigrated from the Dominican Republic and died, he took over
the family business, De La Vega's Bodega, at the age of 24. He lives with Abuela Claudia,
who is not his biological grandmother but with whom he is very close. Usnavi remains
the eyes and ears of his Washington Heights community because he is madly in love
with Vanessa. Nina Rosario, 19, has finished her first year of college at Stanford. No-
body in Nina's immediate family or circle of friends attended college. Nina is Vanessa's
best friend and an inspiration to everyone she meets; she personifies what lies beyond
the Heights. Her father, Kevin Rosario, the owner of Rosario Car and Limousine, is a
middle-aged man in his forties. Kevin and his wife Camila moved to New York City after
growing up in Arecibo, Puerto Rico. After arriving in the US, Kevin immediately went
to work to make a better life for them. He is obstinate, quick-tempered, and impulsive
at times. Camilla Rosario is Kevin's no-nonsense wife and co-owner of Rosario Car and
Limousine. She is a strong-willed character, like her husband. Camilla was born in Are-
cibo, Puerto Rico, but when she was 19, she fell in love with Kevin and followed him to
New York. She keeps her cool and controls Kevin with a gentle but firm hand. Nina, her
daughter, has completed her first year at Stanford and is spending the summer at
home. These are just a few of the many characters in the film. They are presented as
ordinary citizens, business owners, and students (Reyes). They live a typical life, stru-
ggle with family issues, study, make decisions about their future, and love, just like
average people do.
64
7.2 Positive Roles and Characters
The characters in the movie are not just ordinary citizens. They are also presen-
ted in a positive light. Again, the value of this aspect for Latin American immigrants
cannot be fully understood without appreciating how they have always been portrayed
in the film. Studies of the film have shown that many movies feature Latin American
immigrants only in a negative light.
The Latino community is frequently subjected to a variety of negative stereoty-
pes in the media. The most prevalent type is a criminal stereotype. Latinos are not por-
trayed in the media as a homogeneous group of lawbreakers. They are only seen
through the eyes of criminality and rebellion (Akines). This type of stereotypical por-
trayal has appeared in several films. Latinos, who make up a disproportionate share of
immigrants to the United States, are portrayed as criminals or criminal enablers in Net-
flix's original series On My Block and other popular media. Money laundering criminal
organizations, and homicide are all shown as common occurrences for immigrants. Be-
cause of the prevalence of violence against gang leaders and members, many Hispanic
immigrant men, in particular, believe there is no way out of gang life. The stereotype
of a hardworking Latino has also grown in popularity. When Hispanic or Latino immi-
grants are depicted in the media, they are usually in servile or laboring roles. These are
usually domestic workers or maids, who serve mostly White clients, and affluent, we-
althy families of the highest social standing. They are usually either undocumented
workers or arrive in the country illegally. Another popular stereotype is the sexy
Hispanic movie character. Latinos are almost always regarded as objects of sexual
65
desire because of their appearance, self-assurance, and demeanor. In particular, Latin
American women give the impression of being brash, headstrong, and sexual.
There have been attempts to provide a comprehensive summary of the broad
stereotypes and tropes into which Hispanic immigrants are frequently lumped in ci-
nema. Latino representation in the media and film appears to fall into five broad cate-
gories (Akines). The first category is criminals, such as tyrants, drug lords, and corrupt
businessmen. The sexpot stereotype is almost always applied to female protagonists.
Clowns, which were more common in older films, are the third category. In this case,
Latino characters are portrayed as stereotypically naive and thus amusing. They are
likely to be emotionally immature people with a limited command of the English lan-
guage. A servant is another classification; it could be a maid or a man doing manual
labor (Akines). The immigrant population is the last category to be considered. The
immigrant trope is one in which the character's identities and traits are heavily influ-
enced by the fact that they are undocumented immigrants.
The movie In the Heights seems to make a deliberate focus on positive repre-
sentation and imagery. Granted, the characters of the film also have their own sets of
problems and are not perfect. However, they are not run-of-the-mill negatively stere-
otyped characters. In addition, there is a wider range of characters outside the typical
maid, criminal, and over-emotional woman/man trilogy (Akines). The main character,
Usnavi, is an example of character breakdown in the film. After his parents passed on,
Usnavi managed to run a successful neighborhood business. His love interest, Nina, has
managed to complete her studies at one of the most prestigious universities in the
66
world. She is the first member of her family to go to university which gives hope to
everyone who knows her. She represents the opportunity for success outside the
Heights. Nina's parents are also successful business owners. Although they came from
Puerto Rico as teenagers, they have managed to build up a successful business in Wa-
shington Heights. All the characters are working hard in their own right (Reyes). They
have managed to achieve exceptional success in their lives. It is clear that Miranda's
intention was to create a relatable piece of media for Latinos or immigrants, who are
its clearly intended audience. The opinion is always subjective, but the representation
of Latino minorities is something undeniable here, as well as so many universal themes
that are present: hard work for a dream, the love of parents and the sacrifices they are
ready to make, and the sense of belonging: to a country, a neighborhood, or a family. It
is a celebration of life, of love, of everything that makes humans equal, despite their
ethnicity or skin color.
7.3 Diversity
In the Heights also presents diversity in the characterization of Latin American
immigrants as the characters of the movie. This is another positive in the story that
must be viewed within the context of the past negative representations of Latin Ame-
ricans in film. The beginning of this characterization is the pan-ethnic belief systems
about Latin American immigrants in film. The United States has been built on racial
and ethnic categorizations, with the word Latino often used to categorize all immi-
grants that have some Caribbean or Latin American origin. However, this
67
categorization does not stop there. Normally, those who immigrated into the country
as children, the ones who were born in the United States to parents that are of a Latin
American ethnicity or racial group, and those from Mexico who are now citizens and
Puerto Rico who are essentially considered citizens are all included in the group. Ge-
nerally speaking panethnicity is formed when people from different ethnic groups
band together to form a single group (Gutierrez). These alliances are typically formed
for social advantage and economic, or cultural power. It allows the groups to leverage
their number.
For Latin American immigrants, this panethnicity has been the result of long
periods of discrimination and negative sentiment by the rest of the country. Panethnic
identity among Latinos arose from a convergence of cultural and structural factors that
served as the foundation for a reactive identity designed to combat hostile, degrading,
and discriminatory acts by the dominant society while also projecting defensive
communal dignity. According to sociologists, reactive immigrant identities are entirely
American. They have spread in communities with a history of racism against people of
African, Asian, Indigenous, and Latinx descent (Gutierrez). Latino identity first emer-
ged in large cities such as Chicago and New York, largely to advance political agendas
that small, isolated ethnic groups could not easily achieve. It was then championed by
regional civil rights organizations seeking national clout and has since been dissemi-
nated more broadly through advertising targeted at a group's ethnic consumption pat-
terns.
68
It is the emergence of these pan-ethnicities that has resulted in the reference to
Latin American immigrants with blanket characterizations and stereotypical beliefs.
The latter, in turn, spilled over to the film industry and the characterization of Latin
American immigrants, which further reinforced stereotypical beliefs. In most cases, La-
tin American immigrants are one of a few narrow characters, most of which are nega-
tive. For instance, they can be criminals or gang members, workers or maids. The film
In the Heights is markedly different as it does not fall into this trap when it comes to
the representations of Latin American characters. Throughout the movie, there is a
wide range of characters that show different behaviors. There are young lovers who
are navigating a world where they have to make important decisions. There are
business people that participate in different industries, all of which require significant
skill and knowledge. There are multi-generational families from different areas in the
Latin American world, such as Puerto Rican, Dominican and Cuban families. Further-
more, it is important to note that this is one of the films where all the major characters
in the story are Latin American immigrants. It not only solves the problem of the lack
of positive representation but also helps reduce the Latino media gap phenomenon.
Thus, there have been a disproportionately low number of Latin American characters
and actors in major films over the past few years, In the Heights attempts to rectify the
issue. And it is that simply by giving voice and prominence to the Latino community
away from stereotypes and denigrating labels, Lin-Manuel Miranda was able to create
an outstanding movie that is now a notable example of positive representation of the
Latino community. On the other hand, the musicle still has received some backlash
69
before its premiere, mainly caused by an interview by The Root media journalis Felice
Leon. She brought up the issue of colorism and, that despite the fact that the main cast
of the film was Latino, a large portion of actors were of a much lighter skin tone than
what is apparently usually seen in the Washington Heights neighborhood (Romano).
70
C O M P A R I S O N O F R E P R E S E N T A T I O N O F H I S P A N I C A N D LATINO IMMIGRANTS IN T H E W E S T
S I D E S T O R Y , IN T H E H E I G H T S , A N D V I V O
6 Comparison of Representation of Hispanic and

Latino Immigrants in the West Side Story, In the
Heights, and Vivo
The four musicals, West Side Story (1961 and 2021), In the Heights, and Vivo
have all been lauded as important in the representation of Latin American immigrants
in the recent few years. They are different movies in their own rights. For instance, Vivo
is an animated film that is featured on the streaming platform Netflix (Gutierrez). In
the Heights is a movie that was essentially written and produced as a response to the
original West Side Story, which was one of the first films in 1961 to feature imagery of
Latin American immigrants in mainstream American film. However, a new West Side
Story has since been produced. The new version, which was produced by the renowned
film producer Stephen Spielberg attempts to right many of the wrongs that of the ori-
ginal film. Despite their weaknesses, these four films also have significant positives,
especially when it comes to the representation of Latin American immigrants. There
are several common themes across the movies that are important to note. In addition,
it is also important to analyze them within the larger context of the traditional negative
and stereotypical system of representation of Latin American immigrants. Here are
some of the consistent themes in the four movies with regard to the positive represen-
tation of Latin Americans in film.
71
6.1 Humanization
At the center of efforts to present Latin American immigrants in the films was a
deliberate effort to humanize the main characters. Traditionally, it has been easy to
ascribe negative stereotypes to Latin American immigrants because of the ease with
which the average citizen dehumanized immigrants. This dehumanization has been
described as infrahumanization. This is the kind of bias that would have resulted in
people tending to favor themselves and their own group at the expense of other groups.
It is this kind of dehumanization and bias that has dominated the depiction of Latin
Americans in film (Pizzaro, et al. 2). The unique thing about these four movies is the
way they go out of their way to avoid the narrow-minded view of immigrants. Thus,
the movies focus on humanizing Latin American immigrants, presenting them as indi-
viduals who have the same kinds of problems and worries as the rest of the world.
Generally, people tend to attribute humanity to other people based on how
much they deem them capable of feeling and experiencing the world in the same way
as them. Further, people tend to look at other people around them and determine
whether they experience the same kinds of emotions as them, including love and hap-
piness. The four movies go out of the way to present Latin American immigrants as
individuals that experience and feel things in the same way. West Side Story might be
limited in the way it does this, especially given the fact that it is a remake of an old story
that was written during a time when there was little understanding of the harms that
negative stereotypes have on the viewer with regard to their perception of Latin Ame-
rican immigrants. However, the characters are humanized in the film adaptation. The
72
focus is on the authenticity and characters' lives rather than on them as a part of a
larger, monolithic pan-ethnic culture that has been ascribed certain roles in contem-
porary cultures, such as a rapist, gang members, maid, or criminals.
In Vivo and In the Heights, the representation and the focus on humanizing the
immigrant populations are more deliberate than in West Side Story. For instance, the
movie In the Heights is a deliberate attempt to present the characters as normal indi-
viduals who have the same worries, lives, disappointments, and achievements as
anyone else. The young people in the movie struggle with the very same worries as the
rest of the world, including love and studies. Older individuals deal with family issues,
work, and children. The characters have to navigate many issues from friendship to
running businesses (Chang). The fact that these characters experience the world, in the
same way, means that any member of the audience regardless of their ethnicity can
easily relate to them.
This concept of infrahumanization is divided into several key characteristics, all
of which can be seen in the way immigrants are treated in the real world and in popular
media. To begin, members of the ingroup are believed to be morally superior to those
of the outgroup. Immigrants, particularly those from Latin American countries, have
almost never received favorable political treatment in practice. Despite the conditions
they are fleeing, they have been called rapists and thieves in the past and are frequently
not seen as human beings deserving of compassion and assistance (BBC). The same
tendencies can be seen in the film industry. Immigrant characters are rarely portrayed
as normal members of society or given any positive traits. Instead, they are frequently
73
depicted as drug dealers, criminals, gang members, or servants. The four films are ref-
reshing because unlike most films, which position Latin Americans as somehow deser-
ving less than normal in terms of representation, they do not approach the issue of
Latin American representation with the air of moral superiority. These films focus on
presenting Latin American immigrants' lives and their reasons for moving across the
border. For instance, in Vivo, the kinkajou and Andres are content with performing for
the appreciative audience in Havana, Cuba. Andres is shown as a street and a man in
love, who is desperate to have the song he wrote for his long-lost lover delivered to
her. The character of Gabi in the film Vivo is also presented to take the moral high
ground for her decisions. She loves music and is, a member of a group that is conscious
about the environment (Rosenberg). These characters and their presentation are no
longer based on the belief in their inferiority or morality. Instead, they are shown as
equal and deserving humans, hence a positive representation of immigrants in the film.
6.2 Panethnicity
Latin Americans of all ages and socioeconomic backgrounds in the United States
welcome this space as a place to socialize, express themselves culturally, and cultivate
their personal and collective identities. In addition, academics view the development
of Latin American identities as a dynamic process. Common cultural traits, a focus on
Latin American identity rather than ethnicity based on the country of origin, shared
political concerns, and growing contact between people of different Latin American
backgrounds contribute to the development of a shared Latin American identity.
74
However, the acceptance or rejection of this identity will vary depending on socioeco-
nomic status, ethnicity, religion, gender, sexual orientation, immigration status, and
age. Thus, what it means to be Latin American can be interpreted in a variety of ways,
some of which are at odds with one another. A pan-ethnic group is a collection of peo-
ple from different countries who share common cultural and linguistic traits (Nieves-
Pizarro 31). When people of Latin American descent face prejudice and discrimination,
they often respond by coming together to strengthen their collective identity. This pa-
nethnicity is a reactive form of identity. They then band together in political and social
groups to promote a more favorable image of themselves (Gutierrez). However, the
four films here take four distinct and intriguing approaches to the topic of panethnicity.
Rather than focusing on the negative panethnicity and a single, uniform iden-
tity, these four movies tend to place emphasis on individual identities. Typically, mo-
vies tend to show Latin American immigrants as members of a single homogenous
group. Regardless of their individual identity, they have attributed the title of immi-
grants and outsiders and therefore presented as somewhat less deserving of a positive
image. However, these four movies offer a refreshing difference in the representation
of immigrants. For instance, instead of focusing on immigrants as a single group and
members of a gang West Side Story focuses on the true ethnic identity of Latin Ameri-
cans, particularly Puerto Ricans. While the first of the West Side Story movies were full
of negative connotations about Puerto Ricans, its recent adaptation offered a more ref-
reshing and authentic presentation of Latino immigrants. Spielberg tried incorporat-
ing various details to make the picture more appealing to Puerto Rican viewers.
75
Unfortunately, he failed to develop the meaningfulness of those details. For example,
the revolutionary anthem of Puerto Rico with the original lyrics written by Lola
Rodriguez de Tio, accompanied by a "Long live Puerto Rico libre" by one of the mem-
bers of the Puerto Rican gang was used in the picture, as well as other symbols of the
Puerto Rican independence movement, without any explanation or context. (Medina).
In the movie In the Heights, the refusal of panethnicity is also clearThe movie
characters come from different parts of the Latin American continent. For instance,
there are Cubans, Puerto Ricans, Mexicans, and Dominicans. However, instead of being
presented as a part of a uniform culture, they are each allowed the space to be them-
selves (Reyes). In Vivo, the characters are not presented simply as Latino or Latina
immigrants; there is a focus on being as authentic and personal as possible. There is a
specific focus on presenting the Cuban identity and heritage of the movie, with the
images of Havana and the music being inspired by traditional Cuban styles.
6.3 Love as a Theme
Another important way that the four films humanize and present Latin Ameri-
can immigrants in a positive light is through the use of the theme of love. Across the
four movies, there is a consistent focus on the passion of Latin American immigrants
and their love for each other, both at the family and the romantic level. Vivo is the only
movie out of the four under study that focuses on love in a serious way as a central part
of the plot. It is Andres' love that pushes his desire and forces Vivo in the later parts of
the story to travel from Cuba to Miami.
76
The film Vivo portrays Latin American immigrants in a positive light, with the
theme of love playing a central role. Latin American immigrants have a history of being
portrayed as victims or people in desperate situations who are frequently forced to
make a perilous journey to the United States. They could also be portrayed as having
ulterior motives and exploiting the freedom they find in the United States. Nobody ever
treats them like real people, with feelings, needs, and motivations other than survival
or greed. In Vivo, Latin American characters are given more depth through the lens of
love.
Vivo tells a moving story of love from different angles. It tells the story of the
love between a kinkajou, Vivo, and a talented singer. Vivo embarks on an epic journey
to fulfill his destiny and perform a love song written by Andres, his partner, to his past
love. Despite the high stakes, love is what eventually drives Vivo to take the journey
and fulfill Andres' wish.
The long-lost love between Andres and Marta is another way the writers and
directors used to love to humanize and show the passion typical of Latin American
immigrants. Immigration is rarely presented in such a colorful and beautiful way. Many
immigrants are portrayed as seeking a fresh start in order to revitalize their life when
they make the move from Latin American countries to the US. They are also shown as
people who would do anything to not go back to their home countries, which reinforces
the perception of immigrants as a threat. As a result, immigrants end up encountering
anti-immigrant rhetoric from nationalist social movements, political parties, and lea-
ders. Such rhetoric has resulted in the militarization of immigration and border control
77
in recent years (McConnell, Kuus, and Jefferey 2). Although Vivo is an animated film,
the characters are humanized; they are not portrayed as struggling immigrants or as
people hell-bent on profiting from the immigration journey through criminal acts but
rather as individuals who would do anything for love.
There is also love between Gabi and Vivo as they make the journey from Cuba.
In fact, Gabi's life and relationships are all mediated by love. For instance, Gabi had a
close loving relationship with her father, and this is where her love for music came
from. It is this love for music and for the people she believes in that sees her defy her
mother and follow Vivo on his journey.
Finally, all the characters are shown to love their home country, Cuba. Immi-
grants are never explicitly portrayed as people who love their countries in any way. In
Vivo, the character has an intricate relationship with Cuba, which is portrayed as a be-
autiful destination. In fact, the visuals emphasize this point even more. Most immigra-
tion stories depict immigrants as people who are forced to move to a new country aga-
inst their will. In this case, however, the story begins in Havana, Cuba. Instead of depi-
cting a desolate city, the film depicts a vibrant and picturesque version of Havana. An-
dres, the geriatric singer, and his kinkajou companion are both content with their lives.
They make a living by doing what they love and performing for the appreciative city
audience. Their lives are turned upside down by the reawakening of a dormant longing
and faith in a lost love, not by a threat to their physical safely (Scheck). The decision to
travel to Miami is not motivated by fear, greed, or desperation; rather, it is a deliberate
choice. This fact contributes to a positive image of immigrants and immigration.
78
Immigrants are portrayed as free-thinking, self-sufficient individuals who, like every-
one else, make decisions based on what and who they value the most in life. Immi-
grants are portrayed not as potential threats, but as individuals who make their own
decisions and are motivated by love. Vivo, the title, is not only the name of the kinkajou
but a symbolic representation of the entire film as it alludes to the feeling of being alive
and
The film places emphasis on the commonalities shared by both immigrants and
native-born people, such as love and humanity, rather than the differences between
them. The sheer determination to overcome overwhelming obstacles and the dramatic
transformation that occurs in newcomers upon arrival in a new country is a common
theme in immigrant narratives. However, Vivo is a happy story that focuses on the con-
tinuity and similarities between the two worlds, Cuba and the one the characters hope
to find in Miami.
West Side Story, especially the second movie, also uses love as a theme to show
Latin Americans in a positive light. The love between Tony and Maria is the central part
of the story. Despite all the negatives in their lives, true and authentic love seems to be
a single factor that sets apart Latin American immigrants and ends up sparking a truce
and understanding between the two gangs in the story. Maria struggles because she is
set to marry Chino in an arranged marriage. Tony is part of a rival gang that does not
see eye to eye with the Puerto Ricans. Due to the love affair between Tony and Maria,
the rivalry between the gangs reaches a boiling point, resulting in tragic killings.
79
Ultimately, though, it is the respect for this love that sees the two rival gangs find a
peaceful resolution to their issues.
The theme of love is also present in the movie In the Heights, though not as
strongly as in the other two films. There is a love story between Nina and Benny, which
was interrupted when Nina went off to university. Usnavi, one of the main characters,
also has a love interest in Vanessa, who works in the local salon. The theme of love
shows that these characters are human and experience the love and disappointments
that come with it. It serves to humanize the characters and present them as individuals
who are just like anyone else regardless of their ethnicity. Overall, love is a key part of
the positive representation of immigrants in film.
80
CONCLUSION
7 Conclusion
It is important to study carefully the representation of minority groups in the
media. There is an intricate relationship between the representation of these groups
in the media and the general perceptions that they receive in real life. Movies are one
of the most influential forms of media. This is why four movies were chosen as the
focus of the study. The portrayal of minority groups in the media has a significant im-
pact on how the general public views and treats them. Anti-immigrant rhetoric is
frequently the result of negative immigration public and media discourse, particularly
during elections (Conzo, etal.). In contrast, people who consume immigration-related
media that uses politically correct language are more likely to support lax border con-
trols and immigration policies. These occurrences can be explained by social psycho-
logy in terms of cooperation and competition among various social groups. The spread
of a negative immigration narrative can lead to an increase in outgroup threat from
immigrants and an emphasis on the differences between in- and out-groups (Pizzaro,
et al. 2). As a result, discrimination and prejudice against those who are not part of the
in-group are strengthened, reinforcing the beliefs in the in-superiority.
Negative media portrayals of immigrants can amplify prejudice and support for
anti-immigrant politicians and policies by multiplying discrimination in social and eco-
nomic interactions. Every conceivable type of business arrangement is legal, whether
it is a sale between customers and sellers, a loan between creditors and borrowers, or
a job offer and acceptance. When it comes to trust games, natives are more hesitant to
trust foreigners than foreigners are to trust natives, and this asymmetry grows when
81
CONCLUSION
natives have negative attitudes toward ethnic diversity and immigration (Pizzaro, et
al. 2). Cooperation and economic exchange success are hampered by the lack of trust,
reciprocity, and altruism. As a result, anti-migrant rhetoric may have unintended and
potentially negative economic consequences. Antagonism and lower levels of prosoci-
ality in transactions with immigrants, in particular, have been linked to negative media
portrayals of immigrants (Conzo, et al.). However, because of in-group bias or other
related phenomena such as parochial altruism, it can lead to increased prosociality
toward natives. However, if the media portrays immigrants favorably, business asso-
ciates may be more generous to their immigrant coworkers. Increased indirect positive
intergroup contact, such as exposure to positive media portrayals of members of the
outgroup, is associated with an increase in favorable attitudes toward the outgroup. As
a result, as previous research has shown, positive media portrayals of immigrants may
aid in closing the reciprocity gap between immigrants and natives.
However, reliable partners can only be found through open and honest commu-
nication. Individuals frequently negotiate in many markets with incomplete informa-
tion and unfinished agreements. Locals can only make educated guesses as to whether
or not they will encounter foreigners in these markets due to their ethnic diversity. It
has been demonstrated that when there is a high concentration of people from diffe-
rent ethnic backgrounds in a community, people are less likely to trust one another.
Thus, when exposed to negative representations of immigrants in marketplaces or cul-
tures with moderate or high ethnic diversity, native people's prosociality is likely to be
lower (Conzo, et al.). It could be because of the influence of in-group bias. Thus, a
82
CONCLUSION
diverse population might raise concerns about how to establish and maintain ethical
norms. On the other hand, in-group bias can increase altruism when there is little to no
opportunity for contact with foreigners (ethnically homogenous marketplaces). Pro-
moting more positive portrayals of immigrants in the media is one strategy for re-
versing the link between ancestry diversity and antisocial behavior. Ignorance of po-
tential business partners can improve objectivity, which can aid in dispelling media
stereotypes about immigrants. When deciding with whom to do business, one can also
go with one's gut instinct and hope for the best. There may be less helpful behavior as
a result of increased suspicion and fear caused by negative media portrayals of immi-
grants and a lack of information about transaction partners.
The discussion of positive media portrayals of immigration and Latin American
immigrants in the previous sections sets the stage for the examination of the signifi-
cance of positive portrayal of immigration and Latin American immigrants in the stu-
died musical films. First, the films provide a site for imagined positive contact between
immigrants and the natives/citizens. They portray immigrants as individuals and not
as criminal threats or lowly servants and workers without proper education or a grasp
of language, as they have always been shown in films. As a result, these films can be
interpreted as a space for positive imagined contact. The musicals under study provide
a safe space for these imagined positive interactions, which may result in a shift in the
attitudes toward immigrants.
Some people may find interacting with the members of other in-groups too in-
timidating or unpleasant, reducing the number of opportunities for such face-to-face
83
CONCLUSION
contact. There is, however, the option of indirect touch, which can take many forms.
Indeed, normative elements such as laws, institutions, the media, and political interest
influence the context in which indirect contact occurs (White et al. 429). Indirect inte-
ractions can take numerous. Imagined contact is a type of indirect communication in
which people from different social groups are imagined meeting and, ideally, intera-
cting favorably (White et al. 429). Positive imagined contact can strengthen group re-
lationships (Vezzali, et al. 343). This is true even in highly emotional, contentious, and
biased situations (West et al. 60). When people are exposed to groups they have been
taught to fear in non-threatening situations, imagined contact frequently results in
enormously positive perspective shifts.
Recent research has looked into the relationship between intergroup contact
and dehumanization within groups with the goal of improving intergroup interactions.
Researchers discovered that when people interact positively with the members of
other groups, they are less likely to dehumanize the latter (i.e. direct, extended, ima-
gined, and virtual). People's reactions and understandings of an imagined prosocial in-
tergroup interaction mediated by positive social emotions and feelings have been
shown to be influenced by meta(de)humanizing the outgroup (making them appear
less cultivated, educated, logical, and reasonable), whereas humanizing the outgroup
(making them appear more cultivated, educated, logical, and reasonable) increases pe-
ople's openness to interacting with them (Borinca, etal.). The degree to which a person
initially dehumanizes the members of an outgroup influences their proclivity to engage
in negative, ambiguous intergroup encounters. Those who are more likely to
84
CONCLUSION
dehumanize outgroup members may have a negative reaction when interacting with
group members. There has been a long period of negative perception of immigrants,
particularly through films, so it is important to examine the effects of musicals and how
they portray Latino immigrants.
The four musical films under consideration here, West Side Story(1961) and its
2021 feature adaptation, In the Heights, and Vivo, were chosen for their positive repre-
sentations of Latin American immigrants in film. Even though the past few years have
seen negative stereotypes about immigrants in film, these movies changed the land-
scape and presented Latin American immigrants in a positive light. The movies ma-
naged to humanize immigrants and present them as individuals deserving of dignified
and human representation in films. Through the use of such themes as love, authentic
representation, and a diversity of positive representation, the four movies, Vivo, In the
Heights, and West Side Story (1961 and 2021), managed to paint Latin American immi-
grants in a positive light.
85
C H Y B A ! V DOKUMENTU NENÍ ŽÁDNÝ TEXT V ZADANÉM STYLU.
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MASARYKOVA

Vedoucí práce: Mgr. Tomáš Kačer, Ph.D..

Katedra anglistiky a amerikanistiky

Autor: Alisa Ryzhenko

Název práce: Immigrants and Immigration to the US in Musicals: From West

Vedoucí práce: Mgr. Tomáš Kačer, Ph.D..

Author: Alisa Ryzhenko

Title of Thesis: Immigrants and Immigration to the US in Musicals: From West

Účast a zastoupení latinskoamerických přistěhovaleckých populací, zejména ve

filmech a muzikálech, je kritická z několika důvodů. Pro začátek, skutečnost, že se pře­

toho se musí potýkat s problémy stereotypní reprezentace a autenticity. Tato diplo­

stojného a lidského znázornění s využitím témat jako láska, autenticita atd.

Participation and representation of Latin American immigrant populations,

trayals of Latin American immigrants. The aforementioned films succeeded in human-

man representation by utilizing themes such as love, authenticity, etc.

Brno November, 30 2022

Šablona DP 3.4.1-ARTS-dipl-program (2022-11-10) © 2014, 2016, 2018-2021 Masarykova univerzita 9

2 Hispanic and Latin American Immigrants in Film 17

3 Latin American Representation 28

5 Analysis of Representation of Hispanic and Latino Immigrants in West Side

6 Analysis of Positive Representation of Hispanic and Latino Immigrants in

7 Analysis of Positive Representation of Hispanic and Latino Immigrants in

6 Comparison of Representation of Hispanic and Latino Immigrants in the

on their participation in musicals. It is important to consider the participation and rep-

resentation of Latin American immigrant populations, especially in films and musicals,

authenticity. A huge part of such stereotypes is produced by the negative representa-

ity of musicals, it is important to explore the representation and positive portrayal of

past, history, and future implications.

It makes them one of the most influential demographics.

participation and representation, particularly in the mainstream media. Specifically,

to integrate more into society.

2 Hispanic and Latin American Immigrants in Film

in musicals, it is important to explore several themes of their general representation

2.1 Stereotypes in Media and Film

of brown-skinned Spanish-speaking immigrants who mostly came from Mexico with

represented as dishonorable and untrustworthy members of society. In the poll, the

any Hispanic immigrant, especially males

mented workers or live in the country illegally.

American immigrants and spread them around the world.

members of other in-groups too intimidating or unpleasant, reducing the number of

to fear in non-threatening situations, imagined contact frequently results in enor-

mously positive perspective shifts.

2.2 The Latino Media Gap

Another important aspect of Latino representation in the media is that of the

reveals several interesting conclusions. First, in general, the participation of Latinos in

shows at the time (Negron-Muntaner, et al. 2).

Another interesting conclusion is that gender-related differences tend to influ-

imperative for the involvement of Latinos in film.

2.3 Negative Perception

as are feelings of outgroup discrimination and prejudice.

Negative portrayals of immigrants in the media can amplify discrimination in

dor, a borrower, and a lender, or an employer and an employee is permissible. In trust

the efficacy of economic exchanges. As a result, anti-migrant rhetoric may have an

unexpected and possibly unfavorable economic impact. To be more specific, negative

positive intergroup contact, such as viewing positive depictions of outgroup members

result, as previous research has demonstrated, positive media portrayals of immi-

presentations of immigrants in marketplaces or cultures with moderate or high ethnic

may lead to higher prosocial behavior (ethnically homogenous marketplaces). Positive

depictions of immigrants, along with a lack of information about transaction partners,

2.3.1. Immigration and Dehumanization

Dehumanization of immigrants is not a uniquely American issue but rather one

prone to undergo infrahumanization as a result of prejudices about black immigrants

(in comparison to white immigrants) as disease carriers and adversaries in resource

filmech a muzikálech, je kritická z několika důvodů. Pro začátek, skutečnost, že se pře

toho se musí potýkat s problémy stereotypní reprezentace a autenticity. Tato diplo