Santiago Juan-Navarro

French literature - Italian literature - Spanish literature - Portuguese literature | History of Portugal | History of Spain | Latin America. Spanish America | Social Sciences

This article explores film representations of José Martí in three periods of Cuban history: the Republic, Fidel Castro’s Revolution, and the post-Soviet era. These three periods witnessed an evolution in the cinematic use and exploitation of Martí’s symbolic capital. While the Republic endowed Martí with a religious and romantic aura, which turned him into a sacred hero, ICAIC filmmakers systematically resorted to Martí to manufacture a version of the past that would justify the new revolutionary order. Under State control, Cuban cinema in the 1960s and 1970s underscored one of the more recurrent ideas in the political imagery of the Revolution: Martí prefigures and announces Castro, who, in turn, incarnates Martí. The most recent representations, however, aim at demystifying and, therefore, humanizing, the Cuban hero’s image.

3rd degree connections

The Cuban Revolution, the drift of the Castro regime and the destinies of Cuba after Fidel Castro
Meridiano 47 2016 (
This article intends to analyze the possible scenarios of evolution of Cuba after Fidel in the short and medium term, after a retrospective of the Cuban Revolution, its democratic and anticommunist motivations and its authoritarian drift and later it...

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