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Lesson 15: Lesson 15: Immigration in Film Immigration in Film Professor Aaron Baker

Lesson 15: Immigration in Film

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Lesson 15: Immigration in Film. Professor Aaron Baker. Previous Lecture. Mexican History, Society and Cinema Como Agua Para Chocolate (1992) Amores Perros (2000). Today’s Lesson. Immigration and Ethnicity Irish Immigration in Gangs of New York (2002) - PowerPoint PPT Presentation

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Page 1: Lesson 15: Immigration in Film

Lesson 15:Lesson 15:Immigration in FilmImmigration in Film

Professor Aaron Baker

Page 2: Lesson 15: Immigration in Film

Previous LecturePrevious Lecture

• Mexican History, Society and Cinema

• Como Agua Para Chocolate (1992)

• Amores Perros (2000)

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Page 3: Lesson 15: Immigration in Film

Today’s LessonToday’s Lesson

• Immigration and Ethnicity

• Irish Immigration in Gangs of New York (2002)

• Italian Immigration in Nuovomondo (The Golden Door, 2006)

Page 4: Lesson 15: Immigration in Film

Part I: Immigration and EthnicityPart I: Immigration and Ethnicity

Page 5: Lesson 15: Immigration in Film

The Immigration ExperienceThe Immigration Experience

• Meg Greenfield: “Immigrant Mystique”

• Interest in Family History

• “WASP yearning for an ethnically defined and differentiated identity.” Friedman, p.11

Page 6: Lesson 15: Immigration in Film

African American Civil Rights African American Civil Rights MovementMovement

• “Black is Beautiful”

• Encouraged Ethnic Pride

• Symbols, Cultural Events

Page 7: Lesson 15: Immigration in Film

MulticulturalismMulticulturalism

• Not Assimilation, Melting Pot Metaphor

• Hyphenated Identity:– Irish-American– Italian-American– German-American

• Pride, Uniqueness, Perspective

Page 8: Lesson 15: Immigration in Film

U.S. Becoming More DiverseU.S. Becoming More Diverse

• New Waves of Immigration

• Latin America, Asia

• Minorities Becoming Majorities

Page 9: Lesson 15: Immigration in Film

EthnicEthnic

• Originally “Pagan”

• Cultural, National, Political Outsider

• Social Subgroup within Larger Culture

Page 10: Lesson 15: Immigration in Film

Hollywood MoviesHollywood Movies

• Have Insisted on Cultural Uniformity

• The American Dream

• Acknowledged Cultural Difference

• Assert Need to Become American

Page 11: Lesson 15: Immigration in Film

E.g. E.g. Gentleman’s AgreementGentleman’s Agreement

• 1947

• Academy Award

• Reporter investigates Anti-Semitism

• Finds we’re all alike underneath

• Melting Pot

• Americanness

Page 12: Lesson 15: Immigration in Film

Early Film Aimed at ImmigrantsEarly Film Aimed at Immigrants

• Urban Working Class Audience

• Entertainment

• “Manners and customs of . . . new environment” Friedman, p.27

Page 13: Lesson 15: Immigration in Film

Immigrant MogulsImmigrant Moguls

• Studio Heads Denied Ethnic, Immigrant Roots

• Neal Gabler: “Utter and absolute rejection of their pasts and . . . a ferocious, even pathological, embrace of America.” Friedman, p.29

Page 14: Lesson 15: Immigration in Film

Part II: The Irish inPart II: The Irish inGangs of New York Gangs of New York (2002)(2002)

Page 15: Lesson 15: Immigration in Film

1919thth Century Irish Catholics: Century Irish Catholics: No RightsNo Rights

-No vote

-No public office

-No university

-No professions

-No possessions of

value

-No inheritanceFrom Punch

Page 16: Lesson 15: Immigration in Film

ExodusExodus

Noel Ignatiev:

Irish Catholics left in

19th century for U.S.

to find—– More rights,

opportunities– Often found

hostility from Native Born in U.S.

Page 17: Lesson 15: Immigration in Film

Who Were the Natives?

• Born here

• Often just one step up socially, economically

• Ignatiev: oppressed to oppressor

• Saw Irish as an “inferior race”– as viewed Blacks

• Michael Omi, Howard Winant: 19th century ethnicity still equated w/race

Page 18: Lesson 15: Immigration in Film

“He Used to Be Irish”

• Gangs of New York (2002)

• Please pause lecture to watch clip.

Daniel Day Lewis in Gangs of New York

Page 19: Lesson 15: Immigration in Film

Psychological/Economic Motives

• Anti Lincoln, Anti Irish Immigration; Why?– Resent Civil War to end slavery of African

Americans – Resent draft to fight. How War in their interest?– “Lincoln will make all white men slaves.”– Shang (Stephan Graham) “Trying to say I’m no

better than a N word?”– What meant by “He used to be an Irishman”– Shang learned how to appear white, by

claiming privilege, oppressing those below them.

Page 20: Lesson 15: Immigration in Film

Boss Tweed

• Head of Tammany Hall

• Controlled New York City Government

1860s-1870s

• Convicted of stealing $100 million in taxpayers money

Page 21: Lesson 15: Immigration in Film

Black and Irish Unity

• Initially worked, lived together

• White Negros, Smoked Irish

• Dan O’Connell 1841:

-Called on Irish to join

Abolitionists -Overthrow slavery

Page 22: Lesson 15: Immigration in Film

Civil War 1861-1865

• About ending slavery?

• About money—like all wars

• Northern industrialists versus Southern landowners

• Ending slavery undercut Southern economy, South’s ability to fight

Page 23: Lesson 15: Immigration in Film

New York Draft Riots: 1863

• Historian Eric Foner:– 4 days– Mob mostly Irish immigrants

• “Assaulted symbols of the new order being created by the war, wealthy Republicans, . . . The city’s black population.”

Page 24: Lesson 15: Immigration in Film

Forced Conscription

• Irish being forced into military (or pay $300), “Why don’t factory owners fight for own interests?”

• Who targeted in riots shown in Gangs?

• Rich in New York

• Also working class African Americans

• Working-class Irish move from oppressed to oppressors

Page 25: Lesson 15: Immigration in Film

Whiteness

• Irish rioters attacking Blacks adopting the identity of whiteness

• Fighting power that controls them so can assert similar control

• Express belief you are superior, have right to oppress non whites

Page 26: Lesson 15: Immigration in Film

Part III: The ItaliansPart III: The ItaliansNuovomondo Nuovomondo (2006)(2006)

Page 27: Lesson 15: Immigration in Film

Humbert Nelli

• Historian of Italian Immigration

• 5 million people emigrated from Italy to U.S.

• 4 million between 1880-1914

Page 28: Lesson 15: Immigration in Film

What Factors Drove Them?

Page 29: Lesson 15: Immigration in Film

Too Many People, Not Enough Land

• Overpopulation in Southern Italy– Nelli: “Overpopulation constituted a

fundamental and chronic problem.” p.19

• Lack Good Land to Farm– Most Good Land in North– Immigrants from South (Mezzogiorno)

• Lack of Ownership by Peasant Farmers

Page 30: Lesson 15: Immigration in Film

Il Mezzogiorno

80% of immigrants came from Southern Italy.

Page 31: Lesson 15: Immigration in Film

Nelli:

• “Nearly all the land was purchased by large landowners or by speculators instead of by peasants, who could not afford the high purchase prices.” p.20

• Southern peasants also didn’t have money for mechanization, fertilizers

• So agricultural production low, resulting in poverty

Page 32: Lesson 15: Immigration in Film

Nuovomondo (The Golden Door)Nuovomondo (The Golden Door)

How Shows Difficult Life in Southern Italy (Sicily)?

Page 33: Lesson 15: Immigration in Film

Hard Life

• Sicily

• Rocky, Mountainous Land

• Not Fertile

Page 34: Lesson 15: Immigration in Film

Crude Housing

• Nelli’s description of housing for Sicilian peasants:

“Only one room, often windowless, or lighted only by the door. . .The floor is of worn stone, the walls are rudely plastered and the only heat in winter comes from the small charcoal brazier, that is used in preparing food.” p.21

Page 35: Lesson 15: Immigration in Film

Nelli: More Limitations onItalian Peasants

• Paid Taxes, But Little Help from Italian Govt.; p.23

• Natural Disasters: Drought, Pests, Earthquakes, Volcanoes; p.24

• Besides Inequality of Land Ownership, Longstanding Caste System

• Little Upward Mobility; p.25

Page 36: Lesson 15: Immigration in Film

Three Ways for Better Life

• Priesthood• Mafia offered support

to people in place of govt.– “Extra legal and

parallel form of government” p.27

• Leave; Emigration (U.S., Latin America)

Page 37: Lesson 15: Immigration in Film

What Did the Italian Govt. Think of so Many Leaving?

• Safety valve

• “It looked upon massive emigration as the easiest and most convenient means of relieving potentially disruptive socio-economic and political pressures in the South.” p.29-30

Page 38: Lesson 15: Immigration in Film

Went Where?

• Many Italian emigrants went to Latin America (Brazil, Argentina—where Nuovomondo filmed)

• Why Nelli send more Italians to U.S.?

-Cheaper passage

-Better jobs

Page 39: Lesson 15: Immigration in Film

Those That Left

• Ambituous, Hard Working• Those who departed came, according to the

American Consul in Palermo, Philip Carroll, from “the more frugal, thrifty and energetic” members of Southern society. p.32

• Poorest couldn’t afford passage

Page 40: Lesson 15: Immigration in Film

Passage Difficult

• Steam ship• 2-3 Weeks• Tough conditions: Nelli: “Beds were double or

tripled-tiered affairs with iron frameworks that supported burlap covered bags of straw, grass . . . which served as mattresses. . . . few vessels provided enough space for steerage passengers to sit down at a table for their meals.” p.35

Page 41: Lesson 15: Immigration in Film

Ellis Island

• Like those see in Nuovomondo, 97% came through NYC. p.47

• Ellis Island Processing Facility

Page 42: Lesson 15: Immigration in Film

Testing

• Scenes at Ellis Island show how the new immigrants, including Italian--– Tested for disease, but also for intellectual

abilities– Omi and Winant state that up to 1920 the idea

was prominent in American society that immigrants like Italians were genetically inferior

• Please pause to see testing in The Golden Door.

Page 43: Lesson 15: Immigration in Film

Carina Chocano, LA Times

• Golden Door shows:– “The white-coated, modern barbarism at

Ellis Island . . . families were separated and immigrants denied entry. . . . scientists labored to prove the supposed genetic inferiority of Jews, Italians, Russians, Hungarians and other ethnic groups and passed their research along to Congress, resulting in quotas for immigrants from different countries.”

Page 44: Lesson 15: Immigration in Film

Carina Chocano, LA Times (Continued)

• “A marvel of modern efficiency and a young nation's naïve confidence in its ability to scientifically shape its destiny by denying its humanism, the Ellis Island of The Golden Door is light years away from the hardscrabble island where Salvatore was born. But the narrow view of the world that they both provide is remarkably the same.”

Page 45: Lesson 15: Immigration in Film

Discussion Question:Discussion Question:

45

Do you see certain similarities in how Irish and Italian immigration is shown in these two films and contemporary immigration in the U.S.?

Page 46: Lesson 15: Immigration in Film

End of Lecture 15End of Lecture 15

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