革命的例外:教父电影在古巴的接受

IF 0.1 0 HUMANITIES, MULTIDISCIPLINARY
Pedro Noel Doreste
{"title":"革命的例外:教父电影在古巴的接受","authors":"Pedro Noel Doreste","doi":"10.5325/RECEPTION.10.1.0008","DOIUrl":null,"url":null,"abstract":"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.","PeriodicalId":40584,"journal":{"name":"Reception-Texts Readers Audiences History","volume":"48 1","pages":"26 - 8"},"PeriodicalIF":0.1000,"publicationDate":"2018-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Revolutionary Exceptions: Reception of The Godfather Films in Cuba\",\"authors\":\"Pedro Noel Doreste\",\"doi\":\"10.5325/RECEPTION.10.1.0008\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"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.\",\"PeriodicalId\":40584,\"journal\":{\"name\":\"Reception-Texts Readers Audiences History\",\"volume\":\"48 1\",\"pages\":\"26 - 8\"},\"PeriodicalIF\":0.1000,\"publicationDate\":\"2018-06-30\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Reception-Texts Readers Audiences History\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.5325/RECEPTION.10.1.0008\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"HUMANITIES, MULTIDISCIPLINARY\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Reception-Texts Readers Audiences History","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.5325/RECEPTION.10.1.0008","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"HUMANITIES, MULTIDISCIPLINARY","Score":null,"Total":0}
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。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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.
求助全文
通过发布文献求助,成功后即可免费获取论文全文。 去求助
来源期刊
Reception-Texts Readers Audiences History
Reception-Texts Readers Audiences History HUMANITIES, MULTIDISCIPLINARY-
CiteScore
0.10
自引率
0.00%
发文量
14
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.
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
提示
您的信息不完整,为了账户安全,请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
确定
请完成安全验证×
copy
已复制链接
快去分享给好友吧!
我知道了
右上角分享
点击右上角分享
0
联系我们:info@booksci.cn Book学术提供免费学术资源搜索服务,方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。 Copyright © 2023 布克学术 All rights reserved.
京ICP备2023020795号-1
ghs 京公网安备 11010802042870号
Book学术文献互助
Book学术文献互助群
群 号:481959085
Book学术官方微信