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Record Nr. |
UNINA9910959818603321 |
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Autore |
Amaya Hector |
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Titolo |
Screening Cuba : film criticism as political performance during the Cold War / / Hector Amaya |
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Pubbl/distr/stampa |
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Urbana, : University of Illinois Press, c2010 |
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ISBN |
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9786613028716 |
9781283028714 |
1283028719 |
9780252090028 |
0252090020 |
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Edizione |
[1st ed.] |
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Descrizione fisica |
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1 online resource (249 p.) |
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Disciplina |
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Soggetti |
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Motion pictures, Cuban - United States |
Motion pictures - Cuba - History - 20th century |
Motion pictures - Political aspects - Cuba |
Film criticism - United States - History - 20th century |
Film criticism - Cuba - History - 20th century |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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Bibliographic Level Mode of Issuance: Monograph |
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Nota di bibliografia |
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Includes bibliographical references and index. |
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Nota di contenuto |
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Staging film criticism. Cuban culture, institutions, policies, and citizens -- The Cuban revolutionary hermeneutics : criticism and citizenship -- The U.S. field of culture -- U.S. criticism, dissent, and hermeneutics -- Performing film criticism. Memories of underdevelopment -- Lucia -- One way or another -- Portrait of Teresa -- Conclusion. |
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Sommario/riassunto |
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Hector Amaya advances into new territory in Latin American and U.S. cinema studies in this innovative analysis of the differing critical receptions of Cuban film in Cuba and the United States during the Cold War. Synthesizing film reviews, magazine articles, and other primary documents, Screening Cuba compares Cuban and U.S. reactions to four Cuban films: Memories of Underdevelopment, Lucia, One Way or Another, and Portrait of Teresa. In examining cultural production through the lens of the Cold War, Amaya reveals how contrasting interpretations of Cuban and U.S. critics are the result of the political cultures in which they operated. While Cuban critics viewed the films as |
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powerful symbols of the social promises of the Cuban revolution, liberal and leftist American critics found meaning in the films as representations of anti-establishment progressive values and Cold War discourses. By contrasting the hermeneutics of Cuban and U.S. culture, criticism, and citizenship, Amaya argues that critical receptions of political films constitute a kind of civic public behavior. |
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