Italian neorealism’s influence on Cuban revolutionary filmmaking is well-known, but ongoing dialogs between Italian and Cuban film are less so. I propose an alternative film historiography, inspired, in part, by Fernando Solanas and Octavio Getino’s manifesto, “Toward a Third Cinema,” which suggests that such intertextualities are consequential. An exchange between Italian auteur Federico Fellini and revolutionary Cuban filmmaker Tomás Gutiérrez Alea about twentieth-century masculinities is exemplary. In the space between two pregnant musical moments separated by twenty years, the Atlantic Ocean, and geopolitically opposed political contexts, a dialog emerges between the Saraghina sequence in Fellini’s 8½ (1963) and its counterpart in Gutiérrez Alea’s Hasta cierto punto [Up to a Certain Point] (1983). I argue that when cinema historiography opens itself up to such dialogs, a kind of “decolonization” of the hegemonic discourses on both sides can occur.

中文翻译：

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不完美的关系：Tomás Gutiérrez Alea 的 Hasta cierto punto 和 Federico Fellini 的 8½

意大利新现实主义对古巴革命电影制作的影响是众所周知的，但意大利和古巴电影之间正在进行的对话却不那么重要。我提议另一种电影史学，部分灵感来自费尔南多·索拉纳斯和奥克塔维奥·盖蒂诺的宣言，“迈向第三电影”，这表明这种互文性是重要的。意大利导演费德里科·费里尼和古巴革命电影制片人托马斯·古铁雷斯·阿利亚之间关于二十世纪男子气概的交流堪称典范。在相隔 20 年的两个孕育音乐时刻、大西洋和地缘政治对立的政治背景之间的空间中，费里尼的 8½ (1963) 中的萨拉吉娜序列与古铁雷斯·阿莱 (Gutiérrez Alea) 的 Hasta cierto punto [直到某个确定点]（1983）。