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. |
Im Buch
Ergebnisse 1-5 von 81
Seite xi
... took me to Varadero for a weekend at the seaside . On the way we stopped for a drink at a beauty spot . It was midafter- noon , and the only other people in the bar were a group sitting at a table in the garden at the back ; judging by ...
... took me to Varadero for a weekend at the seaside . On the way we stopped for a drink at a beauty spot . It was midafter- noon , and the only other people in the bar were a group sitting at a table in the garden at the back ; judging by ...
Seite 9
... took advantage of the relaxation of relations with Latin America to extend coproductions with independent film- makers throughout the region , which fortified the projection of a Latin American image on Cuban screens all year round ...
... took advantage of the relaxation of relations with Latin America to extend coproductions with independent film- makers throughout the region , which fortified the projection of a Latin American image on Cuban screens all year round ...
Seite 11
... took back the helm . ICAIC's future was nevertheless extremely bleak . The worsening eco- nomic crisis cut deep into the Institute's production program as it fol- lowed other entities into a new regime of self - financing operations ...
... took back the helm . ICAIC's future was nevertheless extremely bleak . The worsening eco- nomic crisis cut deep into the Institute's production program as it fol- lowed other entities into a new regime of self - financing operations ...
Seite 14
... took the interpenetration of the imaginary and the documentary from Alea in Memorias del subdesarrollo ; Alea , in hom- age to her , returned to it in Hasta cierto punto ( Up to a Point ) in 1983 , in which he turns the camera on the ...
... took the interpenetration of the imaginary and the documentary from Alea in Memorias del subdesarrollo ; Alea , in hom- age to her , returned to it in Hasta cierto punto ( Up to a Point ) in 1983 , in which he turns the camera on the ...
Seite 17
... took to promoting Cuban music and radio productions throughout Cen- tral America , supported by advertising agencies that trained up Cuban artists and copywriters . In one of the first Latin American countries equipped with television ...
... took to promoting Cuban music and radio productions throughout Cen- tral America , supported by advertising agencies that trained up Cuban artists and copywriters . In one of the first Latin American countries equipped with television ...
Andere Ausgaben - Alle anzeigen
Häufige Begriffe und Wortgruppen
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