Censorship, hegemony, state power

Jon Beasley-Murray jpb8 at acpub.duke.edu
Thu Feb 9 17:13:02 MST 1995


On Thu, 9 Feb 1995, Andy Daitsman wrote:
>
> Why?  Is it simply that ICAIC has carved out a bureaucratic space for
> itself, shielded by the international acclaim for its films, that makes it
> off-limits to Stalinist challenges?  Or can cultural studies provide us with
> some clues as to why the state would allow a relatively open cinema while
> cracking down hard on literature?
>
> I'm all ears...

This is a great question, and I have very little idea as to how to answer
it.  I wonder, however, if anyone knows whether the situation in Cuba has
been replicated elsewhere--Eisenstein certainly had plenty of problems in
the Soviet Union, though I suspect less than equivalent writers (eg.
Bulgakov (sp?), but I know too little about this.

How is Cuban cinema distributed in Cuba--what about TV?  It would seem a
lot easier to censor film (eg. by denying further distribution, if not by
preventing access to resources) than it would be to censor literature.

My instinct would seem to be that your first answer to be correct--drawing
on Cuban specificity.  Yet Casa de las Americas garnered a fair amount of
international acclaim itself, no?

> Andy

Take care

Jon

Jon Beasley-Murray
Literature Program
Duke University
jpb8 at acpub.duke.edu
http://jefferson.village.virginia.edu/~spoons

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