03693nam 2200745Ia 450 991095981860332120200520144314.097866130287169781283028714128302871997802520900280252090020(CKB)3390000000006571(OCoLC)709664706(CaPaEBR)ebrary10603904(SSID)ssj0000544846(PQKBManifestationID)11335575(PQKBTitleCode)TC0000544846(PQKBWorkID)10536604(PQKB)11541100(MiAaPQ)EBC3414109(MdBmJHUP)muse23707(Au-PeEL)EBL3414109(CaPaEBR)ebr10603904(CaONFJC)MIL302871(OCoLC)923495841(Perlego)2382575(EXLCZ)99339000000000657120100126d2010 ub 0engurcn|||||||||txtccrScreening Cuba film criticism as political performance during the Cold War /Hector Amaya1st ed.Urbana University of Illinois Pressc20101 online resource (249 p.) Bibliographic Level Mode of Issuance: Monograph9780252035593 0252035593 9780252077487 0252077482 Includes bibliographical references and index.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.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 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. Motion pictures, CubanUnited StatesMotion picturesCubaHistory20th centuryMotion picturesPolitical aspectsCubaFilm criticismUnited StatesHistory20th centuryFilm criticismCubaHistory20th centuryMotion pictures, CubanMotion picturesHistoryMotion picturesPolitical aspectsFilm criticismHistoryFilm criticismHistory791.43097291/09045Amaya Hector1696760MiAaPQMiAaPQMiAaPQBOOK9910959818603321Screening Cuba4367979UNINA