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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... television shows and our old movies . You see them struggling to have a little bit of a film thing . Yet here you have Cuba , which is a small place by comparison , and they have healthy , real , ambitious films . Are they doing ...
... television shows and our old movies . You see them struggling to have a little bit of a film thing . Yet here you have Cuba , which is a small place by comparison , and they have healthy , real , ambitious films . Are they doing ...
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... television , it did not appear in the party newspaper Granma as it would normally have done ( although it was later printed for internal party consumption ) .1 But the offense continued to rankle , raising its head again a few days ...
... television , it did not appear in the party newspaper Granma as it would normally have done ( although it was later printed for internal party consumption ) .1 But the offense continued to rankle , raising its head again a few days ...
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... television interview comment- ing publicly on the issue . The situation , he said , was a mess , and Fidel had given him the job of explaining things to him . “ I think that as a re- sult of this encounter , we Cuban cineasts will be ...
... television interview comment- ing publicly on the issue . The situation , he said , was a mess , and Fidel had given him the job of explaining things to him . “ I think that as a re- sult of this encounter , we Cuban cineasts will be ...
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... television and publishing ) . Not least , it is also about the struggle to keep the film institute afloat during the economic collapse ( the " Special Period " ) following the demise of Communism in Eastern Europe and the Soviet Union ...
... television and publishing ) . Not least , it is also about the struggle to keep the film institute afloat during the economic collapse ( the " Special Period " ) following the demise of Communism in Eastern Europe and the Soviet Union ...
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... television , the Cuban revolutionaries of the 1950s were intensely aware of the power of the media . Fernando Pérez portrays the effects in his first feature , Clandestinos ( Clandestine , 1986 ) , based on real incidents in which the ...
... television , the Cuban revolutionaries of the 1950s were intensely aware of the power of the media . Fernando Pérez portrays the effects in his first feature , Clandestinos ( Clandestine , 1986 ) , based on real incidents in which the ...
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