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• W4381956110 abstract "Reviewed by: Hollywood in Havana: US Cinema and Revolutionary Nationalism in Cuba before 1959 by Megan Feeney Cary Aileen García Yero Megan Feeney, Hollywood in Havana: US Cinema and Revolutionary Nationalism in Cuba before 1959. Chicago: University of Chicago Press, 2019. 320 pp. Megan Feeney's Hollywood in Havana is a history of Cuba's engagement with the US film industry during the Republican period (1902–1958). The book argues for the centrality of US films to the development of Cuban notions of democracy, masculinity, and national independence that constituted what she calls revolutionary Cuban nationalism, which climaxed with the Cuban Revolution, against the government of Fulgencio Batista. Feeney explains how the impact of the US film industry on the island was shaped by the ambiguous approaches of Cuban intellectuals and film critics toward the United States, which they interpreted as a model of both democracy and modernity, as well as a threat to national sovereignty. She shows convincingly how US power was strong but unstable, having unpredictable, counterhegemonic outcomes: US movies Americanized as much as they nationalized. Analyzing the meanings that Cubans made of Hollywood, she demonstrates how Cubans subverted implicit imperialist messages embedded in US movies. Hollywood was a prompt for Cuban intellectuals to criticize US capitalism, exploitation, and domination. Conjunctly, the films were also a source of inspiration and a platform for Cubans to reflect on their national reality, ultimately stirring Cubans to fight for a better country. The book contributes to the fields of Cuban studies and film studies. It complements recent scholarship that has advanced understandings of the revolutionary culture of the Republican period. It also challenges previous works that have understood Cuba-US cultural relations as a one-way process in which Cubans were passive subjects that mainly imitated US cultural influence. Instead, the book convincingly shows that Cubans metabolized US cultural influence, Cubanized it, and mobilized it for their own ends. It also advances previous understandings of the origins of the Cuban Revolution, focusing on [End Page 453] everyday cultural encounters and revealing the connection between film and revolution. In that way, Feeney moves away from more traditional histories that have privileged analyses of Fidel Castro, the armed conflict, or Cuba-US diplomatic relations. Furthermore, the book advances film studies by focusing on sociopolitical trends and film business strategies rather than on individual films. It builds the imbrication of Cuba's political history and the development of US-Cuba film culture into a solid narrative that inserts the films' contents as part of its historical analysis in support of the larger arguments of the book. Hollywood in Havana offers six chapters organized chronologically. Chapter 1 covers from the arrival of cinema to Cuba in 1897 to the beginnings of the anti-Machado mobilization in 1928. It tracks the growth of US hegemony in Cuba and the simultaneous increasing opposition to Americanization. While Cuban fanzines encouraged the love for US movie stars and their glamour, challenges to US cinematic influence came in many forms: Through Cuban popular music orchestras that provided the soundtrack to the silent movies and could therefore alter its meanings; through the ruidistas and the parlantes who interrupted the screenings and mocked Hollywood; through strong criticism of films that portrayed Cubans and the Cuban wars of independence in disrespectful ways. Chapter 2 explains the connection between the revolt against the government of President Gerardo Machado and its links to US interests, as well as the emergence of film criticism in Cuba. Several minoristas and movie critics conflated movies and politics, using their film reviews as platforms to condemn Machado and US imperialism. As they educated their readers about Hollywood's anti-Hispanic and consumerist messages, they fomented Cuban nationalism and revolution. Chapter 3 traces Cuba's reception of the US Good Neighbor policies during the 1930s through Hollywood films and film business practices in Cuba. Film was a way to assess whether the US was a good neighbor or not. Chapter 4 explores Hollywood's antifascism during World War II and its promotion of freedom-fighting masculinity. Cubans embraced US movie heroes, yet they interpreted them not only as symbols of the fight against the Nazis but also as inspirations..." @default.
• W4381956110 created "2023-06-26" @default.
• W4381956110 date "2023-01-01" @default.
• W4381956110 modified "2023-09-23" @default.
• W4381956110 title "Hollywood in Havana: US Cinema and Revolutionary Nationalism in Cuba before 1959 by Megan Feeney (review)" @default.
• W4381956110 doi "https://doi.org/10.1353/cub.2023.a899817" @default.
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