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 xvii
... began implementing real programs that were counter to the big interests , there would be a coup or a murder or whatever was necessary . In Cuba they don't even have the illusion of that kind of political free- dom . It's as though they ...
... began implementing real programs that were counter to the big interests , there would be a coup or a murder or whatever was necessary . In Cuba they don't even have the illusion of that kind of political free- dom . It's as though they ...
Seite 8
... began with an unexpected crisis , when Hum- berto Solás undertook the most ambitious film project that ICAIC had yet attempted : an epic adaptation of the nineteenth - century Cuban novel Cecilia Valdés . The production tied up so much ...
... began with an unexpected crisis , when Hum- berto Solás undertook the most ambitious film project that ICAIC had yet attempted : an epic adaptation of the nineteenth - century Cuban novel Cecilia Valdés . The production tied up so much ...
Seite 11
... began to enter the equation of a cinema that had never before regarded the market as the determining factor . Alea's Spanish - coproduced Fresa y chocolate of 1993 channels a power- ful plea for tolerance and a cogent defense of the ...
... began to enter the equation of a cinema that had never before regarded the market as the determining factor . Alea's Spanish - coproduced Fresa y chocolate of 1993 channels a power- ful plea for tolerance and a cogent defense of the ...
Seite 19
... began to change their view- ing habits . They started , for example , taking documentaries seriously , especially the films of Santiago Álvarez . In the 1970s , ICAIC researchers found that people sometimes went to the movies because ...
... began to change their view- ing habits . They started , for example , taking documentaries seriously , especially the films of Santiago Álvarez . In the 1970s , ICAIC researchers found that people sometimes went to the movies because ...
Seite 21
... began to decline with the spread of television ( as well as com- petition from other forms of diversion ) , Cuban cinema retained its pres- tige . In 1984 , a first feature by Rolando Díaz , the sociocritical comedy Los pájaros ...
... began to decline with the spread of television ( as well as com- petition from other forms of diversion ) , Cuban cinema retained its pres- tige . In 1984 , a first feature by Rolando Díaz , the sociocritical comedy Los pájaros ...
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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