G. Crider, J. Batista, Jonathan A. C. Brown, Gabrielle Esparza, Peter J. Ferdinando, R. Ocasio, Javier Eduardo Pabón, Carlos Macías Prieto, Oğuzhan Yener
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引用次数: 0
摘要
摘要：费尔南多·佩雷斯（Fernando Pérez）的《何塞·马蒂：卡纳里奥》（JoséMartí：El ojo del canario）（2010）在大银幕上对马蒂的童年和青春期进行了一次突袭，延续了何塞·马蒂作为白人救世主的圣徒叙事，表面上是一种自我塑造的混血民族理想。为此，费尔南多·佩雷斯（Fernando Pérez）最小化了非裔古巴人的代理权，并为马蒂（Martí）成长的革命环境提供了一个粉饰版。通过对黑人形象、历史修正主义和象征主义的分析，我展示了费尔南多·佩雷斯（Fernando Pérez）所设想的马蒂（Martí。
Abstract:Fernando Pérez’s José Martí: El ojo del canario (2010) is a foray into Martí’s childhood and adolescence on the big screen that perpetuates the hagiographic narrative of José Martí as white savior for what is ostensibly a self-fashioned mestizo national ideal. To that end, Fernando Pérez minimizes Afro-Cuban agency and offers a whitewashed version of the revolutionary milieu in which Martí came of age. Through the analysis of black representation, historical revisionism, and symbolism, I show how the story of Martí and colonial Cuba envisioned by Fernando Pérez enshrines the notion that the burgeoning nationalism and radical politics of mid-nineteenth-century Cuba were a whites-only enterprise, a move that turns the film into a Cuban minstrel show for the new millennium.
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