Abstract:

This article analyzes the Cuban television production of police series between 1969 and 1981. It shows the relationship between the series, the cultural policy of the Cuban Revolution, and the primarily educational role of television after the 1959 revolutionary triumph. These series have been produced and developed, until today, under the strict supervision of MININT (Ministerio del Interior, Home Office) and the FAR (Fuerzas Armadas Revolucionarias, Revolutionary Armed Forces), and perceived mainly as an invaluable means of propaganda and education. First, the article establishes the relationship between the sociopolitical context of the moment, Cuban cultural policies in the 1970s, and the decision to begin production of homegrown police dramas. Then, the series Sector 40 and Móvil 8 are examined. Both screened during prime time on alternating weekends for a decade (1969–1979), depicting the Cuban security forces’ fight against counterrevolutionary groups and common crime. Next, the article focuses on a number of series that depicted the work of Cuban agents who had infiltrated counterrevolutionary groups. Finally, the series El regreso de David is considered, to show how, by the time it was screened (1981), the Cuban sociopolitical context had undergone deep transformations, which rendered outdated the original formula.

摘要：

本文分析了 1969 年至 1981 年间古巴电视连续剧的制作。它展示了该系列、古巴革命的文化政策以及 1959 年革命胜利后电视的主要教育作用之间的关系。直到今天，这些系列一直是在 MININT（内政部长，内政部）和 FAR（Fuerzas Armadas Revolucionarias，革命武装力量）的严格监督下制作和开发的，主要被视为一种宝贵的宣传和教育手段。首先，文章建立了当下社会政治背景、1970 年代古巴文化政策与开始制作本土警察剧的决定之间的关系。那么，该系列Sector 40和Móvil 8进行了检查。两者都在十年间（1969 年至 1979 年）的黄金时段交替放映，描绘了古巴安全部队与反革命团体和共同犯罪的斗争。接下来，文章重点介绍了一些系列，这些系列描述了渗透到反革命团体的古巴特工的工作。最后，考虑了El regreso de David系列，以展示在放映时（1981 年），古巴的社会政治背景如何经历了深刻的转变，从而使原始公式过时了。