PAUL ESPINOSA IS AN ACCLAIMED DOCUMENTARY AND NARRATIVE FILMMAKER. He produces, directs, and writes much of his work, which focuses on the cultural and political lives of Latinos in, around, over, under, and through the US-Mexico border. The recipient of one national and seven San Diego Emmys and five CINE Golden Eagle awards, among others, he owns his own production company, Espinosa Productions, served as director of the Office of Latino Affairs for KPBS-W, San Diego, from 1980 to 1990, and later as Executive Director for Public Affairs and Ethnic Issues. One of his first films, The Trail North (1983), tells the story of immigration from the perspective of a family whose journey north to the US extended over many years. He followed this work with several documentaries and narratives expanding on issues of Latino identity, immigration, and human rights, including Ballad of an Unsung Hero (1984), The Lemon Grove Incident (1986), In the Shadow of the Law (1988), and Uneasy Neighbors (1990). His work has also addressed border politics and culture from a historical perspective, including, most prominently, The Hunt for Pancho Villa (1993), The U.S.-Mexican War: 1846-1848 (1998), and The Border (2000). At the same time, Espinosa has used film to engage Latina/o artistic expression, most notably in 1492 Revisited (1992) and Toco Shop Poets (2004), featured in Visiones: Latino Art in the U.S., a six-part documentary series examining the range of Latino art in the US. And he's still going at it. His most recent series, California and the American Dream, includes The Price of Renewal (2006), is an insightful documentary that examines the complex problems involving community development, philanthropy, and civic engagement in a run down San Diego neighborhood called City Heights, often referred to as the Ellis Island of San Diego. Tireless, Espinosa also has several projects in development.1 Espinosa is an intellectual who seeks to reveal the complexity of Latino lives. As his work suggests, a number of facts and facets make Espinosa a compelling filmmaker: his commitment to and knowledge of Latino history and life; his independence, which reveals a persistence and dedication seen in only the most successful filmmakers; and his training. Born and raised in the Southwest, Espinosa received two degrees in anthropology: a BA from Brown University and a PhD from Stanford University. At the same time, he has always been interested in both critiquing and making media. At Stanford, for example, his work analyzed television as a medium capable of both educating and entertaining audiences. As we discuss in this interview, the films he produces and directs today carry on that work. Despite being a productive filmmaker, Espinosa continues to extend his voice, vision, and community activism. After a long and successful career as an independent filmmaker in San Diego, he accepted a faculty position at Arizona State University (ASU), Tempe, in the Department of Transborder Chicana/o and Latina/o Studies. That's where we met. He and I started our faculty positions at ASU in the fall 2004. I came from the Department of Media Arts at the University of Arizona, excited to work in both Chicano and Chicana and film and media at the rival institution up the road. But I was also a bit anxious. I had never worked in an ethnic studies department, having always been in film and media programs. I'm also not Chicano, but Puerto Rican and Italian. How was I going to fit in? My colleagues in both areas welcomed me with enthusiasm. After all, they had recruited and hired me in ways that suggests a profound understanding and distrust of all kinds of borders. Still, I was somewhat anxious until I realized I'd be working side-by-side with an acclaimed filmmaker, especially one who challenges viewers to see things differently, just as I hope my articles and books similarly challenge readers. Our interview took place over several months, mostly through conversations across the hall, through e-mail, before and after faculty meetings, and over lunch. …
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