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 5
... ideological avant - gardism and artistic avant - gardism . " 5 The Stalinist concept of socialist realism was widely considered inimical and irrele- vant , except by a few " night - prowling tomcats , " as Fornet once put it . The ...
... ideological avant - gardism and artistic avant - gardism . " 5 The Stalinist concept of socialist realism was widely considered inimical and irrele- vant , except by a few " night - prowling tomcats , " as Fornet once put it . The ...
Seite 12
... ideological thaw , was intended as a cultural inter- vention in a political debate . Alea's death three years later would rob Cuban cinema of its most complete representative artist , whose example now became a rallying point for Cuban ...
... ideological thaw , was intended as a cultural inter- vention in a political debate . Alea's death three years later would rob Cuban cinema of its most complete representative artist , whose example now became a rallying point for Cuban ...
Seite 13
... ideology ( jokingly known as machismo - leninismo ) " by consis- tently breaking down any attempt to provide a pleasurable resolution " ( although other readings , which Hess thinks more accurate , consider the film to be both feminist ...
... ideology ( jokingly known as machismo - leninismo ) " by consis- tently breaking down any attempt to provide a pleasurable resolution " ( although other readings , which Hess thinks more accurate , consider the film to be both feminist ...
Seite 15
... ideology of the Cuban Polity . " That is exactly what the crisis moments of 1981 , 1992 , and 1998 are all about . However , you cannot understand these crises if you assume , as Quiros seems to , that " Cuban Polity " is something ...
... ideology of the Cuban Polity . " That is exactly what the crisis moments of 1981 , 1992 , and 1998 are all about . However , you cannot understand these crises if you assume , as Quiros seems to , that " Cuban Polity " is something ...
Seite 16
... ideological struggle in Cuban cinema - is a salient one . Yet Habermas may still provide a critical key for unlocking the dialectic of the Cuban image - on condition that what we ask about is the role of cinema in the structural ...
... ideological struggle in Cuban cinema - is a salient one . Yet Habermas may still provide a critical key for unlocking the dialectic of the Cuban image - on condition that what we ask about is the role of cinema in the structural ...
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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