NOTES
Introduction.
Broadcasting Modernity, Spectacles, and Television
1 See Rodríguez, The Havana Guide; Hyde, Constitutional Modernism.
2 According to Kenneth Burke, people select specific ways to describe themselves
and their surroundings, and their language selection (what he calls “terministic
screens”) unavoidably filters other ways of conceptualizing reality. As he writes,
“Even if any given terminology is a reflection of reality, by its very nature as a
terminology it must be a selection of reality; and to this extent it must function
also as a deflection of reality.” Burke, Language as Symbolic Action, 45.
3 For an extensive historical analysis of U.S. Cuba relations before 1959, see
Pérez, On Becoming Cuban.
4 On Becoming Cuban, 7.
5 On Becoming Cuban, 351.
6 Trouillot, “The Otherwise Modern,” 224.
7 Kutzinski, Sugar’s Secrets. For an analysis of race and the incorporation of black
cultural elements as part of the Cuban nation, see de la Fuente, A Nation for All.
8 de la Fuente, A Nation for All, 12.
9 Kutzinski, Sugar’s Secrets, 7; Arroyo, Travestismos culturales.
10 Arroyo, Travestismos culturales, 7.
11 Hanchard, “Black Cinderella?” See also Wade, Music, Race, and Nation, 3 7.
12 Moraña, Dussel, and Jáuregui, “Colonialism and Its Replicants,” 2. See also
Quijano, “Coloniality of Power, Eurocentrism, and Social Classification”;
Mignolo, “The Geopolitics of Knowledge and the Colonial Difference”; and Qui-
jano, “The Colonial Nature of Power and Latin America’s Cultural Experience.”
13 Gaonkar, “On Alternative Modernities”; Taylor, “Two Theories of Modernity”;
Trouillot, “The Otherwise Modern.” See also Eisenstadt, “Multiple Modernities.”
14 Pérez, On Becoming Cuban, 459.
15 Sturken and Thomas, “Introduction,” 1.
16 Domínguez, “The Batista Regime in Cuba,” 126.
17 Debord, Society of the Spectacle, secs. 4 and 5.
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