ll states in his "Concept of Race," communication equals power. This implicates that whom ever is in the position to circulate meaning is the strongest force.
             With respect to the approach of racial and ethnic representation, American cinema came to generate the depictions of Latin Americans as "Latin lovers," "bandidos," "greasers," "cantinas," "spitfires," and other derogatory portrayals. Racial offensive names and stereotypes became so common in the American industry that they are not only embedded into plots of films, but were actually used in film titles as well. For example, while examining Alfred Charles Richard's Hispanic filmography index, we confront stereotypical terms, such as, Latin Lover and The Temptress (524-527). As a result the meaning that Anglos circulated about Latin Americans was that they are people who are "irrational, prone to violence, lacking intellectual sophistication, oversexed, morally lax, and dirty" (Ramirez 116).
             In order to preserve power, the Anglo film industry made overt efforts to cater to "the middle-class and American born patrons," and in fact to avoid immigrant or working-class values and behaviors (Keller 6). Films did not cater to the "outcast" groups; Blacks, Asians, and Latinos were effectively excluded from American film production. The American film industry intent was on engaging the "upscale" segment of the audience and embracing the values of the dominant culture. As a result, American cinema is a reflection of the Anglo-American value system or race. "...white Americans believed in the superiority of the white race and depicted this superiority on the silver screen. Every other race [therefore] was evaluated in relationship to the attainments of the white race and with respect to the approximation to the white race which provided the standard for emulation" (Keller 32). This preconceived notion of white supremacy in cinema is evident in one of the early films we vi...