Jump to ContentJump to Main Navigation
Hollywood in HavanaUS Cinema and Revolutionary Nationalism in Cuba before 1959$
Users without a subscription are not able to see the full content.

Megan Feeney

Print publication date: 2019

Print ISBN-13: 9780226593555

Published to Chicago Scholarship Online: September 2019

DOI: 10.7208/chicago/9780226593722.001.0001

Show Summary Details
Page of

PRINTED FROM CHICAGO SCHOLARSHIP ONLINE (www.chicago.universitypressscholarship.com). (c) Copyright University of Chicago Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CHSO for personal use.date: 17 September 2021



Looking Up: Hollywood and Revolutionary Cuban Nationalism

(p.1) Introduction
Hollywood in Havana

Megan Feeney

University of Chicago Press

This introduction establishes the book’s key arguments and their contributions to scholarship on US Empire, Cuban history, Hollywood abroad, and film reception. To better understand the 1959 Cuban Revolution, it turns our focus from Fidel Castro to broader and longer cultural processes, particularly here to the ways that Hollywood was used to foment revolutionary Cuban nationalism for decades. Towards exploring this phenomenon, it characterizes Havana theaters, film columns, fanzines, and the film business community as “contact zones,” a term used by scholars to describe sites of foreign-local interaction where US power is wielded strongly but unstably, and is subject to negotiation and adaptation. It argues for a rethinking of the “Americanization” that Hollywood affects abroad, namely that Hollywood can subvert US interests by offering compelling critiques of the American Way and by stoking desire for the sort of national sovereignty, democracy, and prosperity that imperialist US foreign policy often stymies. Hollywood in Havana reasserts the role of leftist filmmakers in representing the American Way abroad and contributes to our understanding of the ways that audiences and (intentionally political) critics interpret films, and the ways that interpretations are shaped by, and used to shape, local context and viewers’ social identities.

Keywords:   Cuban national identity, democratic idealism, masculinity, Hollywood, film reception, Americanization, anti-imperialism, national audience, cultural imperialism, Mr. Smith Goes to Washington

Chicago Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.

Please, subscribe or login to access full text content.

If you think you should have access to this title, please contact your librarian.

To troubleshoot, please check our FAQs, and if you can't find the answer there, please contact us.