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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... tion and then the first twenty years after it ( 1959-79 ) . Corrections have been kept to a minimum ; a few paragraphs have been removed , and one or two added for clarification , but the accounts of the films have not changed . The ...
... tion and then the first twenty years after it ( 1959-79 ) . Corrections have been kept to a minimum ; a few paragraphs have been removed , and one or two added for clarification , but the accounts of the films have not changed . The ...
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... tion is also affected by the situation of viewing , the historical and geo- graphical location of the viewer in front of the screen . The projected image is the same , but the space between the screen and the viewer's eyes is different ...
... tion is also affected by the situation of viewing , the historical and geo- graphical location of the viewer in front of the screen . The projected image is the same , but the space between the screen and the viewer's eyes is different ...
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... tion papers to help him formulate the arguments to present in defense of ICAIC's policies . He also appeared in a television interview comment- ing publicly on the issue . The situation , he said , was a mess , and Fidel had given him ...
... tion papers to help him formulate the arguments to present in defense of ICAIC's policies . He also appeared in a television interview comment- ing publicly on the issue . The situation , he said , was a mess , and Fidel had given him ...
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... tion , gave way to the composed image , the taming of the violent tropi- cal light , a more harmonious decoupage . In place of the wild camera of Jorge Herrera ( Lucía ) and Ramón Suárez ( Memorias del subdesarrollo ) , the new visual ...
... tion , gave way to the composed image , the taming of the violent tropi- cal light , a more harmonious decoupage . In place of the wild camera of Jorge Herrera ( Lucía ) and Ramón Suárez ( Memorias del subdesarrollo ) , the new visual ...
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... tion like this , for others it would become a burden , as the logic of the market 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 ...
... tion like this , for others it would become a burden , as the logic of the market 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 ...
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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