Scarface 1932 condemns gang violence and this is evidenced through its subtitle, 'The Shame of a Nation." The movie seems to challenge the society to condemn and fight corruption that gives way to establishment of illegal trade in the society (Bender 40)
According to Herrera, an author, AL Pacino starring as a Cuban exemplifies and analyzes the stereotype of the Cuban exile and the Cuban-American community in the United States of America. This highlights the stigmatization of the Cuban in the United States through images that portray them as drug dealers, mafia or right-win groups (Herrera 323)
According to Aguirre, an author, the generally forgettable stream of North American action adventures hubs on drug-trafficking actions of pony-tailed Colombians apparently illustrates the negative stereotyping of Latin Americans. The film drew its story line and criminal figures from the accepted version of radicalized representation (Khouri 167)
According to Lyman, an author, the greatest concentration of criminals came in the Mariel Harbor exodus with almost 2% of those arriving in the United States having been categorized as criminals, drug users, vagrants and prostitutes. The criminal component of these Cuban immigrants was referred to as Marielito, meaning undesirable or criminal (Lyman 308)
The film stars Paul Muni as Antonio, Tony' Camonte. Brian de Palma remakes the film in 1983 in different setting in the Latin American and Miami drug cartel, with Al Pacino, Tony Montana, as the star (Myers 335)
In 1983 film, the moral status is uncertain, both in the drug world and in the upright society. It is not clear whether, Omar Suarez, Frank Lopez's henchman is in indeed a police informant (Palmar 158)
Uncertainty and inversion reign through contrast in de Palma Scarface where the drug lord, Frank Lopez probably influences a luminous white suit in form of a highly regarded businessperson dining in a fashionable steakhouse to put on a black suite. Such reversals go beyond individual dressing to the whole scenes (Prince 231)
The criminal component of these Cuban immigrants was referred to as Marielito, meaning undesirable or criminal (Lyman 308). Tony Montana represents the Cuban in the United States, Marielitos who were mental patients and criminals whom Castro deported to the United States from Mariel Harbor in 1980 (Rojas 24)
Scarface- Latin American Culture Scarface (1932) film is an American gangster movie, written by Ben Hecht, directed by Richard Rosson and Howard Hawks, and produced by Howard Hughes. The film is founded on the 1929 novel written by Armitage Trail (White 30)
When Bello was installed as rector of the University of Chile in 1843, he gave an address praising the liberal, humanistic spirit of the Renaissance and Enlightenment. Modernity and progress began when the "intellectual heritage of Greece and Rome" was "reclaimed by the human spirit after a long era of darkness" (Bello 53)
When Bello was installed as rector of the University of Chile in 1843, he gave an address praising the liberal, humanistic spirit of the Renaissance and Enlightenment. Modernity and progress began when the "intellectual heritage of Greece and Rome" was "reclaimed by the human spirit after a long era of darkness" (Bello 53)
Spain is the Middle Ages. The Middle Ages were made up, in soul and body, of Catholicism and feudalism" (Bilbao 104)
In most of the world, humanity was still in a condition little better than slavery, and even countries that had revolutions kept slipping back into the old despotism. Democracies often failed to survive for very long because the masses had an ingrained "habit of domination" (Bolivar 7)
In "The Socialist Doctrine of the Association of May" (1846), Echeverria envisioned a liberal, democratic Argentina in which all persons were equal under the law. Taxes would be proportionate to wealth, monopolies abolished, public office opened to all qualified candidates, the burdens of military service shared equally by all classes, public education and freedom of conscience for all, and state-supported religion eliminated (Echeverria 154-55)
Lastarria's liberal philosophy held that history was always made by individuals, exercising their God-given free will and moral choice. Humanity has the capacity for perfection in spite of the crimes and follies of history, in which "liberty and justice maintain a perpetual struggle with despotism and iniquity and almost always succumb to the repeated blows of these adversaries" (Lastarria 78)
Forced into exile by Mexico's authoritarian rulers, he lived out the rest of his life in Europe. Mora believed that "with neither religion nor worship, it is impossible to have society or morality among civilized people" (Mora 38)
In "Facundo, or Civilization and Barbarism" (1844), Sarimento blamed the condition of Argentina under Rojas on the predominance of the 'barbarous' countryside and the gauchos over the enlightened, educated elites in the cities, especially Buenos Aires. This was the only city that had real contact with the intellectual and political currents of the outside world, and alone had "the advantages of foreign trade" (Sarimento 128)
) turned to nontraditional (especially black and Latin) popular music when ASCAP (American Society of Composers, Authors, and Publishers) banned its mainstream popular music radio broadcasts in the early 1940s. (Manuel, 1991) These developments contributed to the rise of smaller, independent firms that were able to service the demand for specialized markets in a more creative, responsive, and energetic way
Thus, although the "salsa" label was commercial in inspiration, it can be seen as legitimate insofar as it denoted music that had acquired a new social significance and operated in a milieu substantially distinct from that of its Caribbean parent. Salsa's lyrics, like those of its predecessors, the Cuban son and rumba, frequently dealt with local neighborhood events; (Agudelo, 1987) but now the neighborhood was East Harlem rather than, for example, Havana's Guanabacoa suburb
Thus, the development of salsa can be seen as an ongoing dialectic between the Latino community's attempt to shape salsa as its own sub-cultural expression The demography of New York City's Hispanic population started changing in the mid-1970s, when the numerical dominance of Puerto Ricans was challenged by the increased influx of Dominicans, Central Americans, Colombians, Mexicans, and others. By 1985 these groups outnumbered Puerto Ricans, many of whom were themselves assimilating to Anglo culture (Bagdikian, 1985) As a result of the continuing rise in Latino population in the major cities, the 'majors' -- especially RCA/Ariola, CBS, A&M, and EMI -- energetically entered the Latin music industry in 1980