Independent Lens, True Stories
Beyond Baywatch and Blade Runner, there's a fresh and candid future of America’s second largest and most multicultural city.
Comedian George Lopez examines how American media and Hispanic marketing are shaping the contemporary Latino identity.
Phillip Rodriguez is the founder of City Projects, an organization dedicated to creating sustainable programs that will both educate and entertain today's broad and diverse audiences. Rodriguez is also a Senior Fellow for Documentary Filmmaking at the Institute for Justice and Journalism at the USC… Annenberg School for Communication.
A graduate of UC Berkeley, Rodriguez has an MA in Latin American Studies (Honors) and an MFA in Film and Television from UCLA. He also studied Art History and Spanish Literature at Universidad Cumplutense de Madrid. He is a former Senior Research Fellow for The Center for the Study of Los Angeles at Loyola Marymount University.
Numbering 44 million, Latinos are not only this nation’s largest and fastest-growing ethnic group, they are also big business. Brown Is the New Green: George Lopez and the American Dream is a fresh, provocative film examining how media and marketers are shaping America’s perceptions of Latinos. The striking new documentary from filmmaker Phillip Rodriquez features the extraordinary insight and observations of Latino icon and advocate George Lopez through rare behind-the-scenes access to the actor/comedian’s remarkable life and career.
Americans are in a collective state of confusion about Latinos. In Brown Is the New Green, Rodriguez argues that Latino image is stage-managed by marketers and media companies. Mainstream media have largely ignored them, while Spanish-language networks and Hispanic ad companies have served up an exoticized image that has no basis in contemporary American reality.
The film explores how George Lopez normalizes the image of Latinos in this country through entertainment, as Bill Cosby did for African Americans decades ago. Lopez, whose ABC sitcom is the longest-running show with a Latino lead in the history of television, strives to represent Latinos in a manner true to their realities and aspirations.
In Brown Is the New Green, we see actor/comedian George Lopez walk a tightrope between ethnic authenticity and primetime appeal. From his TV sitcom to sold-out concerts, from the writer room, to film sets, Lopez delicately maneuvers to maintain a suitable persona and Latino sensibility. And in behind-the-scenes conversations, he speaks candidly of his childhood longing to fit in, as well as the costs and rewards of working “within the system.”
While Lopez advocates Latinos’ move into the media mainstream, Hispanic marketers have a different agenda: to present Latinos as a separate America. Whether their target audience is elderly immigrants or predominantly English-speaking youth, these Hispanic marketers are pursuing Latino dollars via the myth of cultural otherness. Brown Is the New Green reveals clips of their programming — from “folkloric” commercials to cheesy Latin American soap operas to butt-shakin’ bicultural videos.
Brown Is the New Green features interviews with a variety of influential Latinos, who weigh in, often with conflicting opinions, on the role of marketing and media in shaping Latino identity. Interviewees include advertising executive Hector Orcí, actor Bill Dana (“Jose Jimenez”), author Arlene Dávila, media activist Alex Nogales, and the George Lopez show producer Bruce Helford (who also produced Roseanne and The Drew Carey Show).