Corporate America’s treatment of Latinx people as a homogeneous monolithic group, instead of the diverse demographic it is, has for decades perpetuated stereotypes of Latino authenticity. These stereotypes have disproportionately depicted Latinos on TV and in movies as Spanish speakers that hailed from Latin America and shared a particular Latin “look.”
In Hollywood, this narrative has reinforced the notion that we are a niche market that is separate from the mainstream, which could be served through the importation of programming that is cheaper to produce in Latin America over programing that is produced in the United States.
That’s why it was exciting to see Jenna Ortega and Pedro Pascal make Emmy history earlier this month, as only the third Latina actress and first Latino actor nominated in the lead acting categories for the hit shows “Wednesday” and the “Last of Us.”
Though Latinx people make up 19 percent of the U.S. population, they account for less than 5 percent of actors cast in speaking roles in the nation’s top-grossing films. Additionally, representation in the media industry as a whole stands at a mere 12 percent, with the majority of positions being service oriented, like cleaning services and security. These numbers have remained stagnant for decades, which is outrageous when you consider that they make up nearly half the population in Los Angeles County.
Why has the media industry been so unwilling to acknowledge and address this growing demographic of potential viewers and consumers?
Latinx creatives have told me that many executives in Hollywood don’t understand why they are outraged by how few Latinx appear in films and television shows. After all, there is already a variety of streaming offerings from Latin America and Spain. But there is a profound difference between these markets.
We wouldn’t mistake the experience of Indigenous Mexicans living in Mexico for the experience of a fifth-generation Chicana. This is why many in the industry are identifying as Latinx — a term that signals gender inclusivity and recognition of our racial and ethnic diversity — to call attention to a pattern of exclusion of Latinx writers, and creators that are representing the U.S. experience.
The globalization of Spanish language media has only widened the existing gaps between the robust development of movies and shows produced in Latin America and the limited opportunities for Latinx writers, directors and showrunners in the United States. In recent decades, Latin American media companies have benefited from investments from American streaming conglomerates like Netflix, the lower costs of producing and importing programming in Latin America, and investment by governments in the region that support their film industries.
While streaming platforms offer a wealth of series and films from Spain and Latin America, there is a lack of representation of stories written by Latinx people that reflect their experiences. While actors and writers from Latin America have had the opportunity to expand their résumés with credits from global serials produced by platforms like Netflix, Amazon and Max, Latinx actors and audiences have fewer roles to choose from. The casting of leads in series like “Wednesday” and the “Last of Us” are rare exceptions.
Research shows that in the United States, Latinx actors are often cast in the roles of lower-class characters, criminals, or immigrants. The gap is wider still for Afro-Latinos. In shows produced in Latin America, the majority of actors cast as leads and heroines are blond and white, while darker-skinned actors are often relegated to secondary roles, housekeepers or criminals, if they are represented at all. Additionally, Latinx writers face extra barriers when entering a shrinking industry, as highlighted by the writers strike.
The few productions that have been written or created by Latinx people, and have represented our communities in real and personal ways, have been canceled after a few seasons. When shows like “Gentefied,” “Vida” and the “Gordita Chronicles” were shut down despite positive reviews, writers and fans alike were left wondering why. In the age of streaming, algorithm-driven decisions make it difficult to determine what counts as success with transparency, especially when algorithms are biased against new content.
Latinx audiences remain avid consumers of films, TV and other media, even if they don’t see themselves reflected. Some may question why media conglomerates should change and invest in original content and programming or cast Latinx actors and writers when the cheaper importation-based model is so profitable and seemingly successful. Yet they should evolve because those formulas have historically left Latinx audiences mostly untapped. There are generations of talented scriptwriters, producers and filmmakers who have been underutilized and countless rich stories and ideas that have yet to be told. Film and TV that represent the experience of Latinx communities in the United States enrich the media ecosystem by offering a more accurate representation of American demographics.
Additionally, we must address the negative impacts of the media’s import-heavy formula for Latinx audiences, which limits opportunities and perpetuates the perception of Latinx people as foreigners rather than fellow Americans deserving equal visibility on television and movie screens.
It’s worth noting that Latinx people are not the only group excluded by the globalization of streaming. That Ms. Ortega and Mr. Pascal received recognition raises the question of whether we have reached a crucial turning point. It’s worth considering how we can leverage the current S.A.G.-A.F.T.R.A. and W.G.A. strikes to also address issues of representation and investment in productions that will provide working opportunities for Latinx actors, writers and showrunners alongside matters of pay equity for media workers.
Finally, it is time to consider the global appeal of entertainment featuring Latinx actors. I want to see more roles for actors like Ariana DeBose, the first Afro-Latina to win an Oscar for a supporting role in West Side Story, and productions by filmmakers and MacArthur “genius grant” awardees Alex Rivera and Cristina Ibarra, among many other outstanding Latinx creatives.
I often wonder what it would look like if Hollywood dared to recognize that Latinx talent is not an exception.
Arlene Dávila, the founding director of The Latinx Project at New York University, is the author of “Latinx Art: Artists, Markets and Politics.”
Source photographs by Tiziana Fabi and Ronnie Kaufman /Getty Images
The Times is committed to publishing a diversity of letters to the editor. We’d like to hear what you think about this or any of our articles. Here are some tips. And here’s our email: letters@nytimes.com.
Follow The New York Times Opinion section on Facebook, Twitter (@NYTopinion) and Instagram.
"and" - Google News
July 23, 2023 at 05:00PM
https://ift.tt/298tIcd
Opinion | Pedro Pascal and Jenna Ortega Shouldn't Be Exceptions in Hollywood - The New York Times
"and" - Google News
https://ift.tt/xq0Ku5l
https://ift.tt/RIdELZp
And
Bagikan Berita Ini
0 Response to "Opinion | Pedro Pascal and Jenna Ortega Shouldn't Be Exceptions in Hollywood - The New York Times"
Post a Comment