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发布时间： 2021-09-29 15:07
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When American-born actor Michael Pena was a year old, his parents were deported. They had illegally walked across the U.S. border from Mexico and when they were caught by immigration authorities, they sent Pena and his brother to stay with relatives in the U.S. “It was quite a bit of a gamble for my parents,” says Pena, “but they came back a year later.” Pena?s father, who had been a farmer in Mexico, got a job at a button factory in Chicago and, eventually, a green card. Pena stayed in Chicago until, at 19, he fled to Los Angeles to pursue his acting dreams. This family history makes Pena?s latest role especially personal. In Cesar Chavez, Pena plays the labor leader as he struggles to organize immigrant California farm workers in the 1960s. To pressure growers to improve working conditions and wages, Chavez led a national boycott of table grapes that lasted from 1965 to 1970 and is recorded in the film. Chavez, like Pena, was the American-born son of Mexican farmers who immigrated to the U.S. “
He understands this duality, the feeling of being born in a place but having a very big idea of where your heritage comes from,” says the film director, Diego Luna. “This thing of having to go to school and learn in English and then go home to speak Spanish with your parents.”
As immigration policy is hotly debated on Capitol Hill this year, Luna and others who were involved with Cesar Chavez are hoping the movie will spark new support for reform and inspire American Latinos to get involved. “The message Chavez left was that change couldn?t happen without the masses being a part of their own change,” says Ferrera, a first generation Honduran American who plays the union leader?s wife Helen. Rosario Dawson, who co-founded the advocacy group Voto Latino, plays Chavez ally and labor leader Dolores Huerta.
Immigrant-rights issues in the U.S. have evolved substantially in the years since Chavez founded the United Farm Workers (UFW). Undocumented worker
本题解析：暂无解析
When American-born actor Michael Pena was a year old, his parents were deported. They had illegally walked across the U.S. border from Mexico and when they were caught by immigration authorities, they sent Pena and his brother to stay with relatives in the U.S. “It was quite a bit of a gamble for my parents,” says Pena, “but they came back a year later.” Pena?s father, who had been a farmer in Mexico, got a job at a button factory in Chicago and, eventually, a green card. Pena stayed in Chicago until, at 19, he fled to Los Angeles to pursue his acting dreams. This family history makes Pena?s latest role especially personal. In Cesar Chavez, Pena plays the labor leader as he struggles to organize immigrant California farm workers in the 1960s. To pressure growers to improve working conditions and wages, Chavez led a national boycott of table grapes that lasted from 1965 to 1970 and is recorded in the film. Chavez, like Pena, was the American-born son of Mexican farmers who immigrated to the U.S. “
He understands this duality, the feeling of being born in a place but having a very big idea of where your heritage comes from,” says the film director, Diego Luna. “This thing of having to go to school and learn in English and then go home to speak Spanish with your parents.”
As immigration policy is hotly debated on Capitol Hill this year, Luna and others who were involved with Cesar Chavez are hoping the movie will spark new support for reform and inspire American Latinos to get involved. “The message Chavez left was that change couldn?t happen without the masses being a part of their own change,” says Ferrera, a first generation Honduran American who plays the union leader?s wife Helen. Rosario Dawson, who co-founded the advocacy group Voto Latino, plays Chavez ally and labor leader Dolores Huerta.
Immigrant-rights issues in the U.S. have evolved substantially in the years since Chavez founded the United Farm Workers (UFW). Undocumented worker
本题解析：暂无解析
When American-born actor Michael Pena was a year old, his parents were deported. They had illegally walked across the U.S. border from Mexico and when they were caught by immigration authorities, they sent Pena and his brother to stay with relatives in the U.S. “It was quite a bit of a gamble for my parents,” says Pena, “but they came back a year later.” Pena?s father, who had been a farmer in Mexico, got a job at a button factory in Chicago and, eventually, a green card. Pena stayed in Chicago until, at 19, he fled to Los Angeles to pursue his acting dreams. This family history makes Pena?s latest role especially personal. In Cesar Chavez, Pena plays the labor leader as he struggles to organize immigrant California farm workers in the 1960s. To pressure growers to improve working conditions and wages, Chavez led a national boycott of table grapes that lasted from 1965 to 1970 and is recorded in the film. Chavez, like Pena, was the American-born son of Mexican farmers who immigrated to the U.S. “
He understands this duality, the feeling of being born in a place but having a very big idea of where your heritage comes from,” says the film director, Diego Luna. “This thing of having to go to school and learn in English and then go home to speak Spanish with your parents.”
As immigration policy is hotly debated on Capitol Hill this year, Luna and others who were involved with Cesar Chavez are hoping the movie will spark new support for reform and inspire American Latinos to get involved. “The message Chavez left was that change couldn?t happen without the masses being a part of their own change,” says Ferrera, a first generation Honduran American who plays the union leader?s wife Helen. Rosario Dawson, who co-founded the advocacy group Voto Latino, plays Chavez ally and labor leader Dolores Huerta.
Immigrant-rights issues in the U.S. have evolved substantially in the years since Chavez founded the United Farm Workers (UFW). Undocumented worker
本题解析：暂无解析
When American-born actor Michael Pena was a year old, his parents were deported. They had illegally walked across the U.S. border from Mexico and when they were caught by immigration authorities, they sent Pena and his brother to stay with relatives in the U.S. “It was quite a bit of a gamble for my parents,” says Pena, “but they came back a year later.” Pena?s father, who had been a farmer in Mexico, got a job at a button factory in Chicago and, eventually, a green card. Pena stayed in Chicago until, at 19, he fled to Los Angeles to pursue his acting dreams. This family history makes Pena?s latest role especially personal. In Cesar Chavez, Pena plays the labor leader as he struggles to organize immigrant California farm workers in the 1960s. To pressure growers to improve working conditions and wages, Chavez led a national boycott of table grapes that lasted from 1965 to 1970 and is recorded in the film. Chavez, like Pena, was the American-born son of Mexican farmers who immigrated to the U.S. “
He understands this duality, the feeling of being born in a place but having a very big idea of where your heritage comes from,” says the film director, Diego Luna. “This thing of having to go to school and learn in English and then go home to speak Spanish with your parents.”
As immigration policy is hotly debated on Capitol Hill this year, Luna and others who were involved with Cesar Chavez are hoping the movie will spark new support for reform and inspire American Latinos to get involved. “The message Chavez left was that change couldn?t happen without the masses being a part of their own change,” says Ferrera, a first generation Honduran American who plays the union leader?s wife Helen. Rosario Dawson, who co-founded the advocacy group Voto Latino, plays Chavez ally and labor leader Dolores Huerta.
Immigrant-rights issues in the U.S. have evolved substantially in the years since Chavez founded the United Farm Workers (UFW). Undocumented worker
本题解析：暂无解析
When American-born actor Michael Pena was a year old, his parents were deported. They had illegally walked across the U.S. border from Mexico and when they were caught by immigration authorities, they sent Pena and his brother to stay with relatives in the U.S. “It was quite a bit of a gamble for my parents,” says Pena, “but they came back a year later.” Pena?s father, who had been a farmer in Mexico, got a job at a button factory in Chicago and, eventually, a green card. Pena stayed in Chicago until, at 19, he fled to Los Angeles to pursue his acting dreams. This family history makes Pena?s latest role especially personal. In Cesar Chavez, Pena plays the labor leader as he struggles to organize immigrant California farm workers in the 1960s. To pressure growers to improve working conditions and wages, Chavez led a national boycott of table grapes that lasted from 1965 to 1970 and is recorded in the film. Chavez, like Pena, was the American-born son of Mexican farmers who immigrated to the U.S. “
He understands this duality, the feeling of being born in a place but having a very big idea of where your heritage comes from,” says the film director, Diego Luna. “This thing of having to go to school and learn in English and then go home to speak Spanish with your parents.”
As immigration policy is hotly debated on Capitol Hill this year, Luna and others who were involved with Cesar Chavez are hoping the movie will spark new support for reform and inspire American Latinos to get involved. “The message Chavez left was that change couldn?t happen without the masses being a part of their own change,” says Ferrera, a first generation Honduran American who plays the union leader?s wife Helen. Rosario Dawson, who co-founded the advocacy group Voto Latino, plays Chavez ally and labor leader Dolores Huerta.
Immigrant-rights issues in the U.S. have evolved substantially in the years since Chavez founded the United Farm Workers (UFW). Undocumented worker
本题解析：暂无解析
When the Viaduct de Millau opened in the south of France in 2004, this tallest bridge in the world won worldwide accolades. German newspapers described how it “floated above the clouds” with “elegance and lightness” and “breathtaking” beauty. In France, papers praised the “immense” “concrete giant.” Was it mere coincidence that the Germans saw beauty where the French saw heft and power? Lera Borodisky thinks not. In a series of clever experiments guided by pointed questions, Boroditsky is amassing evidence that, yes, language shapes thought. The effect is powerful enough, she says, that “the private mental lives of speakers of different languages may differ dramatically,” not only when they are thinking in order to speak, “but in all manner of cognitive tasks,” including basic sensory perception. “Even a small fluke of grammar”—the gender of nouns—“can have an effect on how people think about things in the world,” she says.
As in that bridge, in German, the noun for bridge, Brucke, is feminine. In French, pont is masculine. German speakers saw prototypically female features; Frenchspeakers, masculine ones. Similarly, Germans describe keys (Schlussel) with words such as hard, heavy, jagged, and metal, while to Spaniards keys (llaves) are golden, intricate, little, and lovely. Guess which language construes key as masculine and which as feminine? Grammatical gender also shapes how we construe abstractions. In 85 percent of artistic depictions of death and victory, for instance, the idea is represented by a man if the noun is masculine and a woman if it is feminine, says Boroditsky. Germans tend to paint death as male, and Russians tend to paint it as female. Language even shapes what we see. People have a better memory for colors if different shades have distinct names—not English?s light blue and dark blue, for instance, but Russian?s goluboy and sinly. Skeptics of the language-shapes-thought claim have argued that that?s a trivial finding, showing only tha
本题解析：暂无解析
When the Viaduct de Millau opened in the south of France in 2004, this tallest bridge in the world won worldwide accolades. German newspapers described how it “floated above the clouds” with “elegance and lightness” and “breathtaking” beauty. In France, papers praised the “immense” “concrete giant.” Was it mere coincidence that the Germans saw beauty where the French saw heft and power? Lera Borodisky thinks not. In a series of clever experiments guided by pointed questions, Boroditsky is amassing evidence that, yes, language shapes thought. The effect is powerful enough, she says, that “the private mental lives of speakers of different languages may differ dramatically,” not only when they are thinking in order to speak, “but in all manner of cognitive tasks,” including basic sensory perception. “Even a small fluke of grammar”—the gender of nouns—“can have an effect on how people think about things in the world,” she says.
As in that bridge, in German, the noun for bridge, Brucke, is feminine. In French, pont is masculine. German speakers saw prototypically female features; Frenchspeakers, masculine ones. Similarly, Germans describe keys (Schlussel) with words such as hard, heavy, jagged, and metal, while to Spaniards keys (llaves) are golden, intricate, little, and lovely. Guess which language construes key as masculine and which as feminine? Grammatical gender also shapes how we construe abstractions. In 85 percent of artistic depictions of death and victory, for instance, the idea is represented by a man if the noun is masculine and a woman if it is feminine, says Boroditsky. Germans tend to paint death as male, and Russians tend to paint it as female. Language even shapes what we see. People have a better memory for colors if different shades have distinct names—not English?s light blue and dark blue, for instance, but Russian?s goluboy and sinly. Skeptics of the language-shapes-thought claim have argued that that?s a trivial finding, showing only tha
本题解析：暂无解析
When the Viaduct de Millau opened in the south of France in 2004, this tallest bridge in the world won worldwide accolades. German newspapers described how it “floated above the clouds” with “elegance and lightness” and “breathtaking” beauty. In France, papers praised the “immense” “concrete giant.” Was it mere coincidence that the Germans saw beauty where the French saw heft and power? Lera Borodisky thinks not. In a series of clever experiments guided by pointed questions, Boroditsky is amassing evidence that, yes, language shapes thought. The effect is powerful enough, she says, that “the private mental lives of speakers of different languages may differ dramatically,” not only when they are thinking in order to speak, “but in all manner of cognitive tasks,” including basic sensory perception. “Even a small fluke of grammar”—the gender of nouns—“can have an effect on how people think about things in the world,” she says.
As in that bridge, in German, the noun for bridge, Brucke, is feminine. In French, pont is masculine. German speakers saw prototypically female features; Frenchspeakers, masculine ones. Similarly, Germans describe keys (Schlussel) with words such as hard, heavy, jagged, and metal, while to Spaniards keys (llaves) are golden, intricate, little, and lovely. Guess which language construes key as masculine and which as feminine? Grammatical gender also shapes how we construe abstractions. In 85 percent of artistic depictions of death and victory, for instance, the idea is represented by a man if the noun is masculine and a woman if it is feminine, says Boroditsky. Germans tend to paint death as male, and Russians tend to paint it as female. Language even shapes what we see. People have a better memory for colors if different shades have distinct names—not English?s light blue and dark blue, for instance, but Russian?s goluboy and sinly. Skeptics of the language-shapes-thought claim have argued that that?s a trivial finding, showing only tha
本题解析：暂无解析
When the Viaduct de Millau opened in the south of France in 2004, this tallest bridge in the world won worldwide accolades. German newspapers described how it “floated above the clouds” with “elegance and lightness” and “breathtaking” beauty. In France, papers praised the “immense” “concrete giant.” Was it mere coincidence that the Germans saw beauty where the French saw heft and power? Lera Borodisky thinks not. In a series of clever experiments guided by pointed questions, Boroditsky is amassing evidence that, yes, language shapes thought. The effect is powerful enough, she says, that “the private mental lives of speakers of different languages may differ dramatically,” not only when they are thinking in order to speak, “but in all manner of cognitive tasks,” including basic sensory perception. “Even a small fluke of grammar”—the gender of nouns—“can have an effect on how people think about things in the world,” she says.
As in that bridge, in German, the noun for bridge, Brucke, is feminine. In French, pont is masculine. German speakers saw prototypically female features; Frenchspeakers, masculine ones. Similarly, Germans describe keys (Schlussel) with words such as hard, heavy, jagged, and metal, while to Spaniards keys (llaves) are golden, intricate, little, and lovely. Guess which language construes key as masculine and which as feminine? Grammatical gender also shapes how we construe abstractions. In 85 percent of artistic depictions of death and victory, for instance, the idea is represented by a man if the noun is masculine and a woman if it is feminine, says Boroditsky. Germans tend to paint death as male, and Russians tend to paint it as female. Language even shapes what we see. People have a better memory for colors if different shades have distinct names—not English?s light blue and dark blue, for instance, but Russian?s goluboy and sinly. Skeptics of the language-shapes-thought claim have argued that that?s a trivial finding, showing only tha
本题解析：暂无解析
When the Viaduct de Millau opened in the south of France in 2004, this tallest bridge in the world won worldwide accolades. German newspapers described how it “floated above the clouds” with “elegance and lightness” and “breathtaking” beauty. In France, papers praised the “immense” “concrete giant.” Was it mere coincidence that the Germans saw beauty where the French saw heft and power? Lera Borodisky thinks not. In a series of clever experiments guided by pointed questions, Boroditsky is amassing evidence that, yes, language shapes thought. The effect is powerful enough, she says, that “the private mental lives of speakers of different languages may differ dramatically,” not only when they are thinking in order to speak, “but in all manner of cognitive tasks,” including basic sensory perception. “Even a small fluke of grammar”—the gender of nouns—“can have an effect on how people think about things in the world,” she says.
As in that bridge, in German, the noun for bridge, Brucke, is feminine. In French, pont is masculine. German speakers saw prototypically female features; Frenchspeakers, masculine ones. Similarly, Germans describe keys (Schlussel) with words such as hard, heavy, jagged, and metal, while to Spaniards keys (llaves) are golden, intricate, little, and lovely. Guess which language construes key as masculine and which as feminine? Grammatical gender also shapes how we construe abstractions. In 85 percent of artistic depictions of death and victory, for instance, the idea is represented by a man if the noun is masculine and a woman if it is feminine, says Boroditsky. Germans tend to paint death as male, and Russians tend to paint it as female. Language even shapes what we see. People have a better memory for colors if different shades have distinct names—not English?s light blue and dark blue, for instance, but Russian?s goluboy and sinly. Skeptics of the language-shapes-thought claim have argued that that?s a trivial finding, showing only tha
本题解析：暂无解析
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