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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... problem of artistic freedom ? Yes . No one is permitted to criticize the government , other than through the ... problems - how to make things better , what's unfair , and stuff like that . So , in other words , there are channels that ...
... problem of artistic freedom ? Yes . No one is permitted to criticize the government , other than through the ... problems - how to make things better , what's unfair , and stuff like that . So , in other words , there are channels that ...
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... problem of overcrowding in Havana , and Cuban cinema now discovered a new genre , the sociocritical comedy . Espinosa also argued successfully for funds to build up the film festi- val , and scored high on the international propaganda ...
... problem of overcrowding in Havana , and Cuban cinema now discovered a new genre , the sociocritical comedy . Espinosa also argued successfully for funds to build up the film festi- val , and scored high on the international propaganda ...
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... strong collective sentiment , at the very moment that the Cuban Revo- lution reached its nadir , that the problem lay not in the socialist project but in the dogmatic formulations of actual socialist rule . Introduction 11.
... strong collective sentiment , at the very moment that the Cuban Revo- lution reached its nadir , that the problem lay not in the socialist project but in the dogmatic formulations of actual socialist rule . Introduction 11.
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... problem of distinguishing the aesthetic from the political . Reactions to Cuban films are bedeviled by the viewer's in- capacity to separate out aesthetic judgments from political ones in the orthodox manner once assumed by the liberal ...
... problem of distinguishing the aesthetic from the political . Reactions to Cuban films are bedeviled by the viewer's in- capacity to separate out aesthetic judgments from political ones in the orthodox manner once assumed by the liberal ...
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Michael Chanan. campaign , once formulated the problem : " To confuse art and politics is a political mistake . To separate art and politics is another mistake . " 9 Every Cuban viewer sees every Cuban film with this knowledge . For the ...
Michael Chanan. campaign , once formulated the problem : " To confuse art and politics is a political mistake . To separate art and politics is another mistake . " 9 Every Cuban viewer sees every Cuban film with this knowledge . For the ...
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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