Stereotypes In 1960s

Latin American Studies II
5 April 2012
Speedy Gonzalez: A Contemporary Overview 1960s to Present How does one identify oneself? Formed largely on the opinions of others, a person’s identity can be as complex as the universe. For Latinos, identity has been a controversial subject for many in the United States. Many Latinos are faced with obstacles widely placed by society, such as categories and stereotypes. As individuals form impressions and assumptions about others, a person’s background and historical experiences are sometimes generalized or even ignored. Stereotypes act like categories, overgeneralizing and placing false attributes to ethnic groups. Stereotypes are commonly formed by the media through humorous and entertaining depictions.
As independence became a reality for many, the English colonies arose predominantly above other European colonies, such as the French and Spanish. After gaining independence from Spain, Mexico became a considerable presence next to the United States. Always second best, Mexico would become more of a nuisance than an equal ally for the United States. In 1942, due to increase in labor demand and a shortage of workers, the United States government negotiated an agreement with Mexico to import temporary field workers (Rodriguez). By 1964, more than four million Mexicans worked under the Bracero program (Rodriguez). Like communism, the Bracero Program, was created with the intention of benefiting both sides. As Mexican workers became a burden and competition for work increased, the United States implemented Operation Wetback to deport undocumented bracero workers (Rodriguez). The negative view of Mexican workers would become a lasting image for the Latino community as a
Represented by an exaggerated yellow sombrero and traditional Veracruz attire, Speedy Gonzales stereotypically defined a Latino’s identity during the time of his creation. According to Charles Ramirez Berg, “the creation and perpetuation of stereotypes in the movies and in the media function to maintain the status quo by representing dominant groups as ‘naturally’ empowered and marginal groups as disenfranchised” (183). To reinforce the dominant culture’s ideologies, stereotypes degrade and belittle the in-group’s image and identity. An almost raw depiction of Speedy Gonzales, the first episode “Cat-Tails for Two” created in 1953, depicts Speedy Gonzales as a destitute, gold-toothed, rugged rat-like character. Until a rebirth in 1957, Speedy Gonzales is depicted as a more charming, middle-class, just mouse. Throughout many of the episodes, Speedy’s surroundings reinforce many of the Mexican stereotypes. Almost each episode attributes dirtiness and poverty to Mexicans. For example, in “Cannery Woe,” the opening scene depicts two mice sleeping in a trashed can entitled “El Steenko Sardinas.” Hidden messages like this create negative images for Latinos; attributing filth and uncleanliness to all Latinos. Alcoholism is also commonly associated with Latinos. In “Tabasco Road,” Speedy celebrates with his friends who binge drink, causing them to get into trouble. The stereotype that Mexicans