Anchoring her work in archival sources in film technology, economy, and education, Naida García-Crespo argues that Puerto Rico's position as a stateless nation allows for a fresh understanding of national cinema based on perceptions of productive cultural contributions rather than on citizenship or state structures.
Anchoring her work in archival sources in film technology, economy, and education, Naida García-Crespo argues that Puerto Rico's position as a stateless nation allows for a fresh understanding of national cinema based on perceptions of productive cultural contributions rather than on citizenship or state structures.
NAIDA GARCÍA-CRESPO is an assistant professor of English at the U.S. Naval Academy in Annapolis, Maryland.
Inhaltsangabe
INTRODUCTION Established Frames and Images of Puerto Rican Cinema Conceptions of the Puerto Rican Nation… An Alternative Approach to the Study of Puerto Rican National Cinema This Study’s Framework CHAPTER ONE- Contexts for a National Cinema: Cultural, Political, and Economic Movements in Puerto Rico 1860-1952 Late Spanish Colonialism through 1898 Circumstances and Consequences of the U.S. Invasion Initial U.S. Congressional Rule and the Formation of Puerto Rican Identity Puerto Rican Conceptions of the Nation from 1930 Onward CHAPTER TWO- Cinema Comes to Puerto Rico: Historical Uncertainties and Ambiguous Identities (1897-1909) Film Exhibition in Turn-of-the-Century Puerto Rico Rumors of War Footage Representing U.S. Colonial Puerto Rico CHAPTER THREE- Stateless Nationhood, Transnationalism and the Difficulties of Assigning Nationality: Rafael Colorado in Puerto Rican Historiography (1912-1916) Rafael Colorado, Film Exhibition, and the Transnational Circulation of Cultural Subjects Rafael Colorado as Cinematic Producer: Negotiating the Local and the Global Citizenship in a Stateless Nation: Constructing the Puerto Rican Subject CHAPTER FOUR- In the Company of the Elites: The Discourses and Practices of the Tropical Film Company (1916-1917) Inconsistencies in the Received Histories of the Tropical Film Company The Educational/Cultural Project of the Tropical Film Company The Tropical Film Company’s Commercial Aims The End of the Beginning: The Tropical Film Company’s Demise and Legacy CHAPTER FIVE- Perilous Paradise: American Assignment and Appropriation of “Puerto Ricanness” (1917-1925) From Big Stick to Good Neighbor: Puerto Rico as Test Site for American Foreign Policy Fictional Puerto Rico and Colonial Angst Puerto Rico’s Commercial Production Model U.S. Cinema Falls in Love with the Tropics The MacManus/Pathé Productions Famous Player-Lasky/Paramount Comes to the Island Beyond Fiction: Other Aspects of the Puerto Rican Film Industry in the 1920s CHAPTER SIX- Making the Nation Profitable: Industry-Centered Transnational Approaches to Filmmaking (1923-1940) The Film Enthusiast: The Career of Juan E. Viguié Cajas Romance tropical: Re-making the Dream The Film Impresario: The Career of Rafael Ramos Cobián Mis dos amores: The Union of Hollywood and Latin America Los hijos mandan: The Separation of Hollywood and Latin America The End of an Era: The Local Government as Producer CONCLUSION- Early Puerto Rican Cinema and Stateless Nation Building Finding the National in the Transnational ACKNOWLEDGEMENTS BIBLIOGRAPHY INDEX
INTRODUCTION Established Frames and Images of Puerto Rican Cinema Conceptions of the Puerto Rican Nation… An Alternative Approach to the Study of Puerto Rican National Cinema This Study’s Framework CHAPTER ONE- Contexts for a National Cinema: Cultural, Political, and Economic Movements in Puerto Rico 1860-1952 Late Spanish Colonialism through 1898 Circumstances and Consequences of the U.S. Invasion Initial U.S. Congressional Rule and the Formation of Puerto Rican Identity Puerto Rican Conceptions of the Nation from 1930 Onward CHAPTER TWO- Cinema Comes to Puerto Rico: Historical Uncertainties and Ambiguous Identities (1897-1909) Film Exhibition in Turn-of-the-Century Puerto Rico Rumors of War Footage Representing U.S. Colonial Puerto Rico CHAPTER THREE- Stateless Nationhood, Transnationalism and the Difficulties of Assigning Nationality: Rafael Colorado in Puerto Rican Historiography (1912-1916) Rafael Colorado, Film Exhibition, and the Transnational Circulation of Cultural Subjects Rafael Colorado as Cinematic Producer: Negotiating the Local and the Global Citizenship in a Stateless Nation: Constructing the Puerto Rican Subject CHAPTER FOUR- In the Company of the Elites: The Discourses and Practices of the Tropical Film Company (1916-1917) Inconsistencies in the Received Histories of the Tropical Film Company The Educational/Cultural Project of the Tropical Film Company The Tropical Film Company’s Commercial Aims The End of the Beginning: The Tropical Film Company’s Demise and Legacy CHAPTER FIVE- Perilous Paradise: American Assignment and Appropriation of “Puerto Ricanness” (1917-1925) From Big Stick to Good Neighbor: Puerto Rico as Test Site for American Foreign Policy Fictional Puerto Rico and Colonial Angst Puerto Rico’s Commercial Production Model U.S. Cinema Falls in Love with the Tropics The MacManus/Pathé Productions Famous Player-Lasky/Paramount Comes to the Island Beyond Fiction: Other Aspects of the Puerto Rican Film Industry in the 1920s CHAPTER SIX- Making the Nation Profitable: Industry-Centered Transnational Approaches to Filmmaking (1923-1940) The Film Enthusiast: The Career of Juan E. Viguié Cajas Romance tropical: Re-making the Dream The Film Impresario: The Career of Rafael Ramos Cobián Mis dos amores: The Union of Hollywood and Latin America Los hijos mandan: The Separation of Hollywood and Latin America The End of an Era: The Local Government as Producer CONCLUSION- Early Puerto Rican Cinema and Stateless Nation Building Finding the National in the Transnational ACKNOWLEDGEMENTS BIBLIOGRAPHY INDEX
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