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引用次数: 0
摘要
本文回顾了古巴在20世纪70年代非法获取、展出和回应弗朗西斯·福特·科波拉的《教父》电影的条件。古巴革命后,古巴曾短暂禁止进口新的美国媒体——被认为本质上是反知识分子的,与革命理想不相容——古巴艺术和电影工业学院(Cuban Institute of Art and Cinematographic Industry)认为,在封锁的限制和冷战的高峰时期,放映一部好莱坞电影是合适的。为了证明这种对当代好莱坞电影的自我抵制是合理的,古巴评论家努力构建一种统一的解释学,将黑手党理解为一种独特的美国现象,将教父电影理解为对资本主义的一种内在批判。本研究的目的是确定好莱坞电影作为两种竞争意识形态之间交流或话语的持久场所。面对持续的封锁和步履蹒跚的国家电影工业,古巴电影评论家抵制文化帝国主义的威胁,将美国文化工业在古巴的有限存在国有化,就像十年前它拥有其他美国财产一样。
Revolutionary Exceptions: Reception of The Godfather Films in Cuba
abstract:This article revisits the conditions under which Cuba illicitly acquired, exhibited, and responded to Francis Ford Coppola's Godfather films in the 1970s. After a brief ban on new American media imports—considered anti-intellectual in nature and incompatible with revolutionary ideals—following the Revolution, the Cuban Institute of Art and Cinematographic Industry saw fit to exhibit a Hollywood picture under the constraints of the blockade and at the height of the Cold War. To justify this break from the self-imposed boycott of contemporary Hollywood films, Cuban critics endeavored to construct a unified hermeneutics that understood the mafia as a singularly American phenomenon and the Godfather films as a form of immanent critique of capitalism. The purpose of this study is to identify Hollywood film as a persistent site of exchange or discourse between two competing ideologies. Faced with an ongoing blockade and a faltering national film industry, Cuban film criticism resisted the threat of cultural imperialism, nationalizing the limited presence of the American culture industry in the island much as it had other U.S. property a decade prior.
期刊介绍:
Reception: Texts, Readers, Audiences, History is a scholarly, peer-reviewed journal published once a year. It seeks to promote dialog and discussion among scholars engaged in theoretical and practical analyses in several related fields: reader-response criticism and pedagogy, reception study, history of reading and the book, audience and communication studies, institutional studies and histories, as well as interpretive strategies related to feminism, race and ethnicity, gender and sexuality, and postcolonial studies, focusing mainly but not exclusively on the literature, culture, and media of England and the United States.