Esta fiesta se acabó
Vida nocturna, orden y desorden social en P.M. y Soy Cuba
Bibliographic Data
| ID | 16774064 |
|---|---|
| Authors | Marc Olivier Reid (0000-0002-6355-4719, Wilfrid Laurier University, Waterloo, Ontario, Canada, corresponding author) |
| Year | 2017 |
| Volume | 18 |
| Issue | 1 |
| Pages | 30-44 |
| Publication date | 2017-01-02 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Hispanic Research Journal (JOURNAL) |
| Journal identifiers | ISSN: 1468-2737 • E-ISSN: 1745-820X |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/14682737.2016.1238180 |
| OpenAlex | W2582066298 |
| Language | ES |
| Citations received | 2 |
| References cited | 4 |
In this article I analyze the modifications brought to the iconography of the Havana nightlife in two movies from the early years of the Cuban revolutionary regime: Orlando Jiménez Leal’s and Sabá Cabrera Infante’s documentary P.M. (1961), and Mijail Kalatozov’s Cuban-Soviet co-production Soy Cuba/Ya Kuba (1964). Both movies signal the transition between what I call P.M.’s aesthetic of disorder, with its alleged objective and apolitical gaze over the nightlife in Havana, and Soy Cuba’s aesthetic of order, in which nightlife becomes a problem. A comparative analysis of both movies allows a better understanding of the ideologies that shaped the emerging revolutionary Cuban cinema. It also illuminates the critical reception of both movies, from the early years of the Cuban Revolution to the years of the Special Period
| Unique citing works | 2 |
|---|---|
| Citations per year | 0.67 |
| Citation span | 2023 - 2023 (1) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 2 |