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  1. Fidel between the lines
    paranoia and ambivalence in late socialist Cuban cinema
    Autor*in: Humphreys, Laura-Zoe
    Erschienen: 2019
    Verlag:  Duke University Press, Durham

    In Fidel between the Lines Laura-Zoë Humphreys traces the changing dynamics of criticism and censorship in late socialist Cuba through a focus on cinema. Following the collapse of the Soviet Union, the Cuban state strategically relaxed censorship,... mehr

    Zugang:

    Standort:
    Ibero-Amerikanisches Institut Preußischer Kulturbesitz, Bibliothek
    Fernleihe:
    keine Fernleihe

    Standort:
    Universitätsbibliothek Leipzig
    Fernleihe:
    keine Fernleihe

     

    In Fidel between the Lines Laura-Zoë Humphreys traces the changing dynamics of criticism and censorship in late socialist Cuba through a focus on cinema. Following the collapse of the Soviet Union, the Cuban state strategically relaxed censorship, attempting to contain dissent by giving it an outlet in the arts. Along with this shift, foreign funding and digital technologies gave filmmakers more freedom to criticize the state than ever before, yet these openings also exacerbated the political paranoia that has long shaped the Cuban public sphere. Drawing on ethnographic fieldwork, textual analysis, and archival research, Humphreys shows how Cuban filmmakers have historically turned to allegory to communicate an ambivalent relationship to the Revolution, and how such efforts came up against new forms of suspicion in the 1990s and the twenty-first century. Offering insights that extend beyond Cuba, Humphreys reveals what happens to public debate when freedom of expression can no longer be distinguished from complicity while demonstrating the ways in which combining anthropology with film studies can shed light on cinema's broader social and political import.

     
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    Volltext (lizenzpflichtig)
  2. Fidel between the lines
    paranoia and ambivalence in late socialist Cuban cinema
    Autor*in: Humphreys, Laura-Zoë
    Erschienen: 2019
    Verlag:  Duke University Press, Durham

    Introduction: Criticism from within -- Symptomologies of the state -- Paranoid readings and ambivalent allegories -- Faith without Fidel -- Staying and suspicion -- Montage in the parenthesis -- Coda: 'Cuba está de moda'. mehr

    Standort:
    Max-Planck-Institut zur Erforschung multireligiöser und multiethnischer Gesellschaften, Bibliothek
    Signatur:
    LB 40640 Hump 2019
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe

    Standort:
    Staats- und Universitätsbibliothek Hamburg Carl von Ossietzky
    Signatur:
    Linga A/914789
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe

     

    Introduction: Criticism from within -- Symptomologies of the state -- Paranoid readings and ambivalent allegories -- Faith without Fidel -- Staying and suspicion -- Montage in the parenthesis -- Coda: 'Cuba está de moda'.

     
    Export in Literaturverwaltung   RIS-Format
      BibTeX-Format
    Hinweise zum Inhalt
    Quelle: Verbundkataloge
    Sprache: Englisch
    Medientyp: Buch (Monographie)
    Format: Druck
    ISBN: 9781478005476; 9781478006244
    RVK Klassifikation: LB 40640
    Schlagworte: Motion pictures; Motion pictures; Motion pictures; Motion pictures
    Umfang: xi, 287 Seiten, Illustrationen
    Bemerkung(en):

    Includes bibliographical references and index
  3. Fidel between the lines
    paranoia and ambivalence in late socialist Cuban cinema
    Autor*in: Humphreys, Laura-Zoe
    Erschienen: 2019
    Verlag:  Duke University Press, Durham

    In Fidel between the Lines Laura-Zoë Humphreys traces the changing dynamics of criticism and censorship in late socialist Cuba through a focus on cinema. Following the collapse of the Soviet Union, the Cuban state strategically relaxed censorship,... mehr

    Zugang:

    Standort:
    Ibero-Amerikanisches Institut Preußischer Kulturbesitz, Bibliothek
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe

     

    In Fidel between the Lines Laura-Zoë Humphreys traces the changing dynamics of criticism and censorship in late socialist Cuba through a focus on cinema. Following the collapse of the Soviet Union, the Cuban state strategically relaxed censorship, attempting to contain dissent by giving it an outlet in the arts. Along with this shift, foreign funding and digital technologies gave filmmakers more freedom to criticize the state than ever before, yet these openings also exacerbated the political paranoia that has long shaped the Cuban public sphere. Drawing on ethnographic fieldwork, textual analysis, and archival research, Humphreys shows how Cuban filmmakers have historically turned to allegory to communicate an ambivalent relationship to the Revolution, and how such efforts came up against new forms of suspicion in the 1990s and the twenty-first century. Offering insights that extend beyond Cuba, Humphreys reveals what happens to public debate when freedom of expression can no longer be distinguished from complicity while demonstrating the ways in which combining anthropology with film studies can shed light on cinema's broader social and political import.

     
    Export in Literaturverwaltung   RIS-Format
      BibTeX-Format
    Hinweise zum Inhalt
    Volltext (lizenzpflichtig)