- UCLA Chicano Studies Research Center
193 Haines Hall
Los Angeles, CA 90095 - 310-206-0714
My introduction to a special issue on "Border Crossings: Mexican and Chicano Cinema" in Spectator 13.1 (Fall 1992).
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My foreword to Karen Mary Davalos's book on Yolanda Lopez, published by the UCLA Chicano Studies Research Center in 2008.
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My foreword to Constance Cortez's book on Carmen Lomas Garza, published by the UCLA Chicano Studies Research Center Press in 2010.
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My foreword to Terezita Romo's book on Malaquias Montoya, published by the UCLA Chicano Studies Research Center in 2011
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My foreword to Deborah Cullen's book on Rafael Ferrer, published by the UCLA Chicano Studies Research Center in 2012.
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My foreword to Ramon Garcia's book on Ricardo Valverde, published by the UCLA Chicano Studies Research Center Press in 2013.
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My forward to Jennifer Gonzalez's book on Pepon Osorio, published by the UCLA Chicano Studies Research Center Press in 2013
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My foreword to the first book-length monograph on the artist Gronk, written by Max Benavidez. The book is part of the A VER: Revisioning Art History series.
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My foreword to the first book-length monograph on the artist Celia Alvarez Muñoz, written by Roberto Tejada. The book is part of the A VER: Revisioning Art History series. [
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My foreword to the first book-length monograph on the artist Maria Brito. The book is written by Juan Martinez as part of the A VER: Revisioning Art History series.
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My foreword to the first book-length monograph on the artist Luis Cruz Azaceta. The book is written by Alejandro Anreus as part of the A VER: Revisioning Art History series.
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Curatorial essay by Chon A. Noriega and Pilar Tompkins Rivas for the exhibition Mapping Another L.A.: The Chicano Art Movement at the Fowler Museum at UCLA in Fall 2011 - Winter 2012. The exhibition looked at the work by nine Chicano art... more
Curatorial essay by Chon A. Noriega and Pilar Tompkins Rivas for the exhibition Mapping Another L.A.: The Chicano Art Movement at the Fowler Museum at UCLA in Fall 2011 - Winter 2012. The exhibition looked at the work by nine Chicano art groups or organizations that were active in Los Angeles between 1969 and 1980: Goez Art Studios and Gallery (1969– ), Mechicano Art Center (1969–1978), Plaza de la Raza (1969– ), Self Help Graphics & Art (1971– ), Asco (1971–1987), Los Four (1973–1977), Los Dos
Streetscapers (1975–1980, renamed East Los Streetscapers in 1980), Social and Public Art Resource Center (SPARC, 1976– ), and Centro de Arte Público/Public Art Center (1977–1980).
The essay was published in the multi-exhibition catalog, L.A. Xicano, edited by Chon A. Noriega, Terezita Romo, and Pilar Tompkins Rivas (Los Angeles: UCLA Chicano Studies Research Center Press, 2011). L.A. Xicano was a project by the UCLA Chicano Studies Research Center as part of the Getty's inaugural Pacific Standard Time initiative on the emergence of Los Angeles as an art center between 1945-1980.
Streetscapers (1975–1980, renamed East Los Streetscapers in 1980), Social and Public Art Resource Center (SPARC, 1976– ), and Centro de Arte Público/Public Art Center (1977–1980).
The essay was published in the multi-exhibition catalog, L.A. Xicano, edited by Chon A. Noriega, Terezita Romo, and Pilar Tompkins Rivas (Los Angeles: UCLA Chicano Studies Research Center Press, 2011). L.A. Xicano was a project by the UCLA Chicano Studies Research Center as part of the Getty's inaugural Pacific Standard Time initiative on the emergence of Los Angeles as an art center between 1945-1980.
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My introduction to Urban Exile: Collected Writings of Harry Gamboa, Jr, ed. Chon A. Noriega (Minneapolis: University of Minnesota Press, 1998).
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Page 1. LI T PeRforMinG Between CuttuRes AIiNa TRoYanO tilRestreak 'This hook makes you cry in one eye and laugh in the other." —Jonn Leguizamo, author of Freak Page 2. Page 3. I, Carmelita Tropicana One BP6Q-2FT-KL7K... more
Page 1. LI T PeRforMinG Between CuttuRes AIiNa TRoYanO tilRestreak 'This hook makes you cry in one eye and laugh in the other." —Jonn Leguizamo, author of Freak Page 2. Page 3. I, Carmelita Tropicana One BP6Q-2FT-KL7K Page 4. Page 5. ...
Page 1. VISIBLE NATIONS LATIN AMERICAN CINEMA AND VIDEO CHON A. NORIEGA, EDITOR Page 2. Page 3. Page 4. Page 5. Visible Nations ti This One Z5X-1JC-EFGS Page 6. X Page 7. Visible Nations Latin American Cinema ...
Front matter for my book, Shot in America: Television, the State, and the Rise of Chicano Cinema (2000). Includes preface and introduction. Description: Noriega offers a compelling and detailed description of an enormous body of work... more
Front matter for my book, Shot in America: Television, the State, and the Rise of Chicano Cinema (2000). Includes preface and introduction.
Description: Noriega offers a compelling and detailed description of an enormous body of work by Chicano media makers against the backdrop of Chicano social movements, politics, and activism over a forty-year period—an extraordinary exposition of the civil rights movement, media reform activities, and public affairs programming that constitutes the prehistory of independent and minority cinemas. Noriega offers a compelling and detailed description of an enormous body of work by Chicano media makers against the backdrop of Chicano social movements, politics, and activism over a forty-year period—an extraordinary exposition of the civil rights movement, media reform activities, and public affairs programming that constitutes the prehistory of independent and minority cinemas.
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•This book is an important reorientation of the field, and should serve as an example of the merits of overcoming the traditional isolation of cinema studies from television studies.—Ellen Seiter
•Thoroughly researched and elegantly written, the present case study integrates archival information, interviews, and the author’s own experiences. Engaging for readers in various disciplines and with diverse professional backgrounds. —Choice
•A substantial contribution to the study of Chicano cinema, broadcast policy, and cultural politics in the United States. —Film Quarterly
Description: Noriega offers a compelling and detailed description of an enormous body of work by Chicano media makers against the backdrop of Chicano social movements, politics, and activism over a forty-year period—an extraordinary exposition of the civil rights movement, media reform activities, and public affairs programming that constitutes the prehistory of independent and minority cinemas. Noriega offers a compelling and detailed description of an enormous body of work by Chicano media makers against the backdrop of Chicano social movements, politics, and activism over a forty-year period—an extraordinary exposition of the civil rights movement, media reform activities, and public affairs programming that constitutes the prehistory of independent and minority cinemas.
Reviews:
•This book is an important reorientation of the field, and should serve as an example of the merits of overcoming the traditional isolation of cinema studies from television studies.—Ellen Seiter
•Thoroughly researched and elegantly written, the present case study integrates archival information, interviews, and the author’s own experiences. Engaging for readers in various disciplines and with diverse professional backgrounds. —Choice
•A substantial contribution to the study of Chicano cinema, broadcast policy, and cultural politics in the United States. —Film Quarterly
Research Interests: Psychology and Routledge
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... Chon Noriega, letter to Elisabeth Sussman, 5 September 1993. 18 See especially Rosalind Krauss's reading of Lorna Simpson's installation Hypothetical? (1992) in which she essentially equates the catalog texts... more
... Chon Noriega, letter to Elisabeth Sussman, 5 September 1993. 18 See especially Rosalind Krauss's reading of Lorna Simpson's installation Hypothetical? (1992) in which she essentially equates the catalog texts with the art itself. ...
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Research Interests: Art and movie theater
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Introduction The considerable and often heated debate over hate speech has produced numerous reports, articles, and books. These studies have looked at the issue from a number of disciplinary perspectives, including those of journalism,... more
Introduction The considerable and often heated debate over hate speech has produced numerous reports, articles, and books. These studies have looked at the issue from a number of disciplinary perspectives, including those of journalism, law, linguistics, economics, history, and philosophy (Butler 1997; Cortese 2006; Dharmapala and McAdams 2003; Kellow and Steeves 1998; Lendman 2006; Lewis 2007; Meddaugh and Kay 2009; Neiwert 2009; O'Connor 2008; Slagle 2009; Tolmach Lakoff 2001). These studies offer valuable theoretical, conceptual, interpretive, and descriptive insights into hate speech, but they often rest upon unsubstantiated empirical premises about the phenomenon itself. To date, there is limited research on hate speech using scientific approaches to medium, content, and impact. (i) The main goal of this pilot study is to develop a sound, replicable methodology for qualitative content analysis that can be used to examine hate speech that targets vulnerable groups, including...
Research Interests: Sociology and Legislation
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... Chon Noriega, letter to Elisabeth Sussman, 5 September 1993. 18 See especially Rosalind Krauss's reading of Lorna Simpson's installation Hypothetical? (1992) in which she essentially equates the catalog texts with the art... more
... Chon Noriega, letter to Elisabeth Sussman, 5 September 1993. 18 See especially Rosalind Krauss's reading of Lorna Simpson's installation Hypothetical? (1992) in which she essentially equates the catalog texts with the art itself. ...
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Page 1. I in AMERICA Television, the State. ani l the Rise ^^^^^ of Chicano Cinema Chon A. Noriega Page 2. Page 3. Shot in America "Thi s One 7Z7A-30H-WR4D Page 4. Page 5. Shot in America Television ...
Research Interests: Art and movie theater
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Page 1. 1 Aztlán 29:1 Spring 2004 © University of California Regents Warhol's Western: Queering the Frontier Myth Chon A. Noriega ... It is a cinema or a passion to record the people Fig. 1. TaylorMead & Viva. Still from Lonesome... more
Page 1. 1 Aztlán 29:1 Spring 2004 © University of California Regents Warhol's Western: Queering the Frontier Myth Chon A. Noriega ... It is a cinema or a passion to record the people Fig. 1. TaylorMead & Viva. Still from Lonesome Cowboys (1967-68) by Andy Warhol. ...
My contribution as guest editor was made possible through research support and faculty development grants from the Center for Re-gional Studies and Southwest Hispanic Research Institute at the University of New Mexico. In particular, I... more
My contribution as guest editor was made possible through research support and faculty development grants from the Center for Re-gional Studies and Southwest Hispanic Research Institute at the University of New Mexico. In particular, I wish to thank José Rivera, Tobias Duran and ...
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... 10. Interview with Severo Perez, San Antonio, February 3, 1990, by Chon Noriega and Lillian Jimenez. Perez, working completely in the boonies, edited the film in his living room, but lacked the 1994, 99-104, 6. 9 Page 12. Noriega... more
... 10. Interview with Severo Perez, San Antonio, February 3, 1990, by Chon Noriega and Lillian Jimenez. Perez, working completely in the boonies, edited the film in his living room, but lacked the 1994, 99-104, 6. 9 Page 12. Noriega equipment to add sound. ...
Page 1. Chicano Cinema and the Horizon of Expectations: A Discursive Analysis of Film Reviews in the Mainstream, Alternative, and Hispanic Press, 1987-1988* Chon A. Noriega Rut even the miallest smoke signal can mark ...
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Research Interests: Psychology and Films
This essay gives an account of the pre-history for Puerto Rican artist Raphael Montañez, Jr. (b. 1934), not by turning to his family tree or to his artistic and intellectual influences. Nor do I proffer a pre-existing historical “context”... more
This essay gives an account of the pre-history for Puerto Rican artist Raphael Montañez, Jr. (b. 1934), not by turning to his family tree or to his artistic and intellectual influences. Nor do I proffer a pre-existing historical “context” that then explains the artist and his art against the backdrop of his “times.” Instead, I use the occasion of his birth to establish the interrelationship between science and art amidst struggles for political self-determination in the last decades of the Spanish Empire and the first four decades in the formation of the U.S. as an empire in the hemisphere. In going backwards from 1934 to 1882, I connect the formation of the National Archives in the U.S. with the first call for a Puerto Rican national museum by physician and natural scientist Agustín Stahl over fifty years earlier. These institutions are guided by a scientific evidence-based imperative to collect, organize, and describe, and they serve as central tools in nation-building projects, w...
In the second act of Tennessee Williams's 1955 play, Cat on a Hot Tin Roof, Big Daddy confronts his son Brick, who has become an alcoholic and refuses to procreate with his more than willing wife, Maggie the Cat. Perhaps, he... more
In the second act of Tennessee Williams's 1955 play, Cat on a Hot Tin Roof, Big Daddy confronts his son Brick, who has become an alcoholic and refuses to procreate with his more than willing wife, Maggie the Cat. Perhaps, he suggests, there "was something not exactly right" in ...
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ethnic identity and/or community belonging while negotiating a critical relationship to mainstream art and media culture. The artists in the exhibition address a variety of topics through diverse media, approaching their analysis and... more
ethnic identity and/or community belonging while negotiating a critical relationship to mainstream art and media culture. The artists in the exhibition address a variety of topics through diverse media, approaching their analysis and interaction of political, social, and cultural phenomena through the perspective of their Chicano/a identity. Their practices engage recent tendencies in art such as nonmonumental, intellectual, post-studio, and/or relational artistic approaches that have been gaining international prominence. While the ...
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As entertainment education (EE) becomes an increasingly popular medium for delivering health information, evaluation of EE is key to better understanding how it not only influences audiences but also how it can be better implemented. We... more
As entertainment education (EE) becomes an increasingly popular medium for delivering health information, evaluation of EE is key to better understanding how it not only influences audiences but also how it can be better implemented. We suggest that EE evaluation has largely focused on impact while its implementation, specifically through narrative, characters, and genre, has remained unexplored. We propose drawing from theories and methods used in media studies to complement current approaches to understanding and evaluation of EE that can help improve EE for health education. East Los High serves as a case study, through which we examine the characters and the narrative demands of the telenovela genre to reveal a disproportional depiction of Latino men and women that ultimately replays familiar Latino stereotypes of criminality and exaggerated sexuality. We discuss the implications this has on the show’s ability to do public health work.
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ethnic identity and/or community belonging while negotiating a critical relationship to mainstream art and media culture. The artists in the exhibition address a variety of topics through diverse media, approaching their analysis and... more
ethnic identity and/or community belonging while negotiating a critical relationship to mainstream art and media culture. The artists in the exhibition address a variety of topics through diverse media, approaching their analysis and interaction of political, social, and cultural phenomena through the perspective of their Chicano/a identity. Their practices engage recent tendencies in art such as nonmonumental, intellectual, post-studio, and/or relational artistic approaches that have been gaining international prominence. While the ...
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Personal reflection from 1995 on curating media programs with respect to race, ethnicity, and gender.
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... Inside-out: polymorphous, polyester, Pollyanna. ... In Showgirls, that dance consists of lifting a bare-breasted (erect-nippled) woman out of an ex-ploding papier-mâché volcano, a sadomasochistic black leather dance of lesbian... more
... Inside-out: polymorphous, polyester, Pollyanna. ... In Showgirls, that dance consists of lifting a bare-breasted (erect-nippled) woman out of an ex-ploding papier-mâché volcano, a sadomasochistic black leather dance of lesbian eroticism consisting of ...