Cuban CinemaU of Minnesota Press, 2004 - 538 Seiten The earliest films made in Cuba—newsreel footage of the Cuban-Spanish-American War—date from the end of the nineteenth century, but Cuba cannot be said to have had an indigenous film industry before the revolution of 1959. The melodramas, musicals, and comedies made until then reflected Hollywood’s—and the United States’s—cultural domination of the island, but the revolution precipitated urgent debates about the role of cinema in a socialist country and the kinds of films best suited to the needs of the people and their rulers. Among the feature films, documentaries, and short subjects made in accordance with revolutionary principles are celebrated works by Tomás Gutiérrez Alea, Humberto Solás, and other filmmakers who have had a profound influence on both Latin American and world cinema.Michael Chanan provides a comprehensive, authoritative, and absorbing account of Cuban cinema both before and after the revolution, deftly setting individual films and filmmakers within the larger framework of Cuba’s social, political, and cultural history. First published as The Cuban Image in 1984 to wide acclaim, Cuban Cinema now appears in a new, expanded edition that updates Chanan’s discussion to the beginning of the twenty-first century. New chapters address ongoing concerns about freedom of expression; Havana’s restored importance within the Latin American film industry through the Havana Film Festival, before state support for filmmakers dwindled in the economic collapse that followed the fall of the Soviet Union; Cuban cinema’s place within the globalized cultural market; and the changing audience for Cuban films. The only book-length study of Cuban cinema written in English, this indispensable work on one of the world’s most vital national cinemas offers a unique perspective on the Cuban experience in the twentieth century.Michael Chanan is a documentary filmmaker and professor of cultural and media studies at the University of the West of England in Bristol. |
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Seite 6
... audience beyond its own shores , nevertheless , no history of world cinema can afford to ignore the Cuban ... audience , were preferable to the sheen of high production values that merely reflected the audience back to itself . Havana ...
... audience beyond its own shores , nevertheless , no history of world cinema can afford to ignore the Cuban ... audience , were preferable to the sheen of high production values that merely reflected the audience back to itself . Havana ...
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... of the classic novel that , for all its visual splendors , dis- concerted both traditionalists and the popular audience , disarray among the filmmakers enabled Alfredo Guevara's old adversaries to mount a 8 Introduction.
... of the classic novel that , for all its visual splendors , dis- concerted both traditionalists and the popular audience , disarray among the filmmakers enabled Alfredo Guevara's old adversaries to mount a 8 Introduction.
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... , according to García Espinosa , is " above all to show the process which generates the prob- lems ... to submit it to judgement without pronouncing the verdict , " and thus to stimulate the audience to active involvement in Introduction ...
... , according to García Espinosa , is " above all to show the process which generates the prob- lems ... to submit it to judgement without pronouncing the verdict , " and thus to stimulate the audience to active involvement in Introduction ...
Seite 14
Michael Chanan. and thus to stimulate the audience to active involvement in the produc- tion of meaning on the screen . 13 There are critics , it is true , who con- sider that the commentary ( completed by Alea and García Espinosa after ...
Michael Chanan. and thus to stimulate the audience to active involvement in the produc- tion of meaning on the screen . 13 There are critics , it is true , who con- sider that the commentary ( completed by Alea and García Espinosa after ...
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... audiences found both more entertaining and more effective than broadcasting and the press ensured that the Insti ... audience were dispelled when he learned that a large number of people were so intrigued by the film that they would ...
... audiences found both more entertaining and more effective than broadcasting and the press ensured that the Insti ... audience were dispelled when he learned that a large number of people were so intrigued by the film that they would ...
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actors aesthetic Alea's Alfredo Guevara artistic audience become bourgeois called camera Castro character comedy Communist critical Cuba Cuba's Cuban cinema Cuban films Cuban Revolution cultural Daniel Díaz Torres Díaz director documentary economic festival fiction Fidel film industry film's filmmakers foreign Fornet Fraga Fresa y chocolate genre Havana Hollywood Humberto Solás ICAIC ideological imperfect cinema intellectual Ivens Jorge José Juan Juan Carlos Tabío Julio García Espinosa kind Latin American Lucía machismo Manuel Octavio Gómez Mario Martí ment montage movie narrative newsreel North American Óscar Pérez play political popular problem production Quin radio reality revolutionary Rodríguez Rolando Díaz Santiago Álvarez Sara Gómez says scene screen script Sergio Sergio Giral shot social socialist society Soviet Spanish story struggle style symbolic Tabío television Teresa theme things tion Tomás Gutiérrez Alea underdeveloped Valdés viewer woman workers