Homosexuality and Invisibility in Revolutionary Cuba: Reinaldo Arenas and Tomás Gutiérrez Alea, by María Encarnación López
In: New West Indian guide: NWIG = Nieuwe west-indische gids, Band 92, Heft 1-2, S. 132-133
ISSN: 2213-4360
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In: New West Indian guide: NWIG = Nieuwe west-indische gids, Band 92, Heft 1-2, S. 132-133
ISSN: 2213-4360
In: Rethinking marxism: RM ; a journal of economics, culture, and society ; official journal of the Association for Economic and Social Analysis, Band 21, Heft 2, S. 228-242
ISSN: 1475-8059
In 1931, Soviet film director Sergei Eisenstein lived in Mexico to work on Que viva Mexico! This epic film dramatizes over four centuries of that nation's history, in six parts: a prologue, four episodes representing three different modes of production, and an epilogue. This essay explores (1) how the film's montage of narrative discontinuity functions as the formal equivalent of the ideological breaks associated with transitions between modes of production, and (2) how the resulting historiography is directly linked to contemporary debates in Mexico and the Soviet Union over the nature and representation of revolutions. Adapted from the source document.
In: Latin American research review: LARR ; the journal of the Latin American Studies Association (LASA), Band 43, Heft 3, S. 33-58
ISSN: 0023-8791