The Cuban Filmography

Author : Alfonso J. García Osuna
Publisher : McFarland
Page : 224 pages
File Size : 49,6 Mb
Release : 2015-08-01
Category : Performing Arts
ISBN : 9781476605319

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The Cuban Filmography by Alfonso J. García Osuna Pdf

On January 24, 1897, an event took place that would change Cuban culture forever: the first moving pictures were shown in Havana. A couple of weeks later, on February 7, the first movie was filmed on the island. Since then, cinematography and Cuba have shared peculiar and innate connections, as their beginnings roughly coincide and Cubans are living in both the age of independence and revolution and the age of film. This work is a filmography of every Cuban film (including documentaries, shorts and cartoons) released from 1897, the first year films were shown and made in Cuba, through 2001. Each entry gives the original title of the film, the English translation of it, director, production company or companies, year of release, black and white or color, total running time, writing credits if the film is based on a story or novel, animation credits if the film is a cartoon, music credits if music has been written specifically for the film, cast credits, and a synopsis and short critical evaluation. The work also provides comments on the relationship between Cuban film and history, and the changes that have taken place over the years in themes, topics, methods, and other aspects of filmmaking in Cuba.

Author : Michael Chanan
Publisher : U of Minnesota Press
Page : 564 pages
File Size : 53,6 Mb
Release : 2004
Category : Performing Arts
ISBN : 0816634246

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Cuban Cinema by Michael Chanan Pdf

New chapters express ongoing concerns about freedom of expression, the role of the Havana Film Festival in restoring Havana's central position in Latin American cinema, & the changing audience for Cuban films.

Author : Salvador Jiménez Murguía,Sean O'Reilly,Amanda McMenamin
Publisher : Rowman & Littlefield
Page : 411 pages
File Size : 45,8 Mb
Release : 2020-01-15
Category : Performing Arts
ISBN : 9781538107744

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A Cuban Cinema Companion by Salvador Jiménez Murguía,Sean O'Reilly,Amanda McMenamin Pdf

With the recent shift in Cuba-US relations stemming from the relaxing of travel restrictions and an influx of American visitors, interest in Cuba and its culture has increased substantially. A new emphasis has been placed on the island country’s many cultural and artistic achievements, specifically in film. Cuban cinema is recognized around the world as having produced some of the most celebrated works originating from Latin America—such as Fresa y Chocolate and La Muerte de un Burócrata—as well as many prominent artists—including directors Tomás Gutiérrez Alea and Humberto Solás. In A Cuban Cinema Companion, editors Salvador Jimenez Murguía, Sean O’Reilly, and Amanda McMenamin have assembled a collection of essays about more than100 films across six decades, including feature films, documentaries, and animation. These entries also provide information on directors, actresses, and actors of Cuban cinema. Entries range from films like Retrato de Teresa to Buena Vista Social Club and include descriptions of each film’s plot, themes, and critical commentary, as well as comprehensive production details and brief suggestions for further reading. Beginning with the victory of the Cuban revolution—from the first ten years of what is often referred to as Cuba’s “Golden Age” of film to the present—this volume offers readers valuable insights into Cuban history, politics, and culture. An indispensable guide to one of the great world cinemas, A Cuban Cinema Companion will be of interest to students, academics, and the general public alike.

Author : Ann Marie Stock,Guy Baron,Antonio Álvarez Pitaluga
Publisher : Bloomsbury Publishing
Page : 336 pages
File Size : 52,9 Mb
Release : 2017-06-30
Category : Performing Arts
ISBN : 9781786732538

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The Cinema of Cuba by Ann Marie Stock,Guy Baron,Antonio Álvarez Pitaluga Pdf

Contemporary Cuba is opening up to the rest of the world. Its colonial past and the Communist revolution have left a lasting imprint on society, yet there is a tangible sense of rapid change which is reflected in the island's national cinema. New screen technologies and digital distribution media have supported the efficacy and global reach of Cuban filmmakers whose work, somewhat in lieu of adequate distribution and traditional screening facilities in Cuba itself, is often disseminated via 'flash' (USB memory sticks).Channelling an energetic DIY attitude through grassroots movements and ad-hoc resourcefulness, the new filmmakers of Cuba have inspired the editors of this book to embrace their contagious enthusiasm through essays on authentic Cuban cinema. Whilst the book provides a comprehensive overview of the history behind current practices, it also moves beyond this to examine key case studies as well as 'snapshots' of individuals working within the industry today. Chapters celebrate the shared creativity as well as diversity of Cuban cinema, including both productions of the Cuban Film Institute's (ICAIC) as well as those from the industry margins. The films discussed demonstrate a driving cinematic force through social criticism, the emphasis of debate and historical change through film, reassessments of gender relations, the use of new technologies and much more.

Author : Michael Myerson
Publisher : New York : Grossman Publishers
Page : 232 pages
File Size : 55,5 Mb
Release : 1973
Category : Performing Arts
ISBN : UTEXAS:059173026616121

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Memories of Underdevelopment by Michael Myerson Pdf

Author : Michael Chanan
Publisher : BFI Publishing
Page : 328 pages
File Size : 45,5 Mb
Release : 1985
Category : Performing Arts
ISBN : UOM:39015051312356

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The Cuban Image by Michael Chanan Pdf

Author : Hector Amaya
Publisher : University of Illinois Press
Page : 250 pages
File Size : 49,8 Mb
Release : 2010-09-09
Category : History
ISBN : 9780252035593

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Screening Cuba by Hector Amaya Pdf

Hector Amaya advances into new territory in Latin American and U.S. cinema studies in this innovative analysis of the differing critical receptions of Cuban film in Cuba and the United States during the Cold War. Synthesizing film reviews, magazine articles, and other primary documents, Screening Cuba compares Cuban and U.S. reactions to four Cuban films: Memories of Underdevelopment, Lucia, One Way or Another, and Portrait of Teresa. In examining cultural production through the lens of the Cold War, Amaya reveals how contrasting interpretations of Cuban and U.S. critics are the result of the political cultures in which they operated. While Cuban critics viewed the films as powerful symbols of the social promises of the Cuban revolution, liberal and leftist American critics found meaning in the films as representations of anti-establishment progressive values and Cold War discourses. By contrasting the hermeneutics of Cuban and U.S. culture, criticism, and citizenship, Amaya argues that critical receptions of political films constitute a kind of civic public behavior.

Author : Andrea Easley Morris
Publisher : Lexington Books
Page : 205 pages
File Size : 46,5 Mb
Release : 2011-11-25
Category : Literary Criticism
ISBN : 9781611484236

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Afro-Cuban Identity in Post-Revolutionary Novel and Film by Andrea Easley Morris Pdf

Afro-Cuban Identity in Post-Revolutionary Novel and Film examines the changing discourse on race as portrayed in Cuban novels and films produced after 1959. Andrea Easley Morris analyzes the artists’ participation in and questioning of the revolutionary government’s revision of national identity to include the unique experience and contributions of Cuban men and women of African descent. While the Cuban revolution brought sweeping changes that vastly improved the material condition of many Afro-Cubans, at the time overrepresented among Cuba’s poor and marginalized, the government’s official position was that racial inequities had been resolved as early as 1962. Although a more open dialogue on race was cut short, the work of several novelists and film directors from the late 1960s and 70s expresses the need to explore what was gained and lost by Afro-Cubans in the early years of the revolution, among them Manuel Granados, Miguel Barnet, Nivaria Tejera, Sara Gómez, César Leante, Tomás Gutiérrez Alea, Sergio Giral, and Manuel Cofiño. Their works participate in the process of redefining Cuban national identity that took place after the revolution and, more specifically, they explore the place of Afro-Cuban identity within a broader notion of revolutionary “Cubanness.” This occurs through an emphasis on Afro-Cuban cultural practices that have constituted forms of resistance to colonial and neo-colonial oppression. This book examines the identity conflicts portrayed in these works and takes into account the artists’ negotiation of their own status within the revolutionary context by looking at the narrative strategies used to address racial issues within the constraints placed on cultural production in Cuba after 1962.

Author : Dan Van Neste
Publisher : Unknown
Page : 592 pages
File Size : 40,8 Mb
Release : 2017-03-15
Category : Biography & Autobiography
ISBN : 1629331287

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The Magnificent Heel by Dan Van Neste Pdf

With his dark good looks, muscular physique, heavy-lidded bedroom eyes, and easy smile, amateur boxer and Wall Street business man Jacob Krantz left Wall Street to cut a dashing figure on the silver screen for over five decades. Few knew that he was a Jewish man, when Paramount Pictures signed him in 1922, changed his name from Jacob Krantz to Ricardo Cortez, and widely publicized him as a "Latin lover" in the style of Rudolph Valentino, Antonio Moreno, and Ramon Navarro. He worked in silent movies with top directors and stars, including The Next Corner (1924) with Lon Chaney, Cecil B. DeMille's Feet of Clay (1924), The Pony Express (1925), Torrent (1926) with Greta Garbo, D. W. Griffith's The Sorrows of Satan (1926), Mockery (1927) with Lon Chaney, and Excess Baggage (1928) with William Hanes. Within six years, chaos took hold of topsy turvy Hollywood as the industry converted from silent movies to talking pictures, yet Cortez successfully transitioned through Frank Capra's The Younger Generation(1929), Montana Moon (1930) with Joan Crawford, as Sam Spade in the first film adaptation of Dashiell Hammett's The Maltese Falcon (1931), Wonder Bar (1934) with Al Jolson, The Big Shakedown (1934) with Bette Davis, Walking Dead (1936) with Boris Karloff, Charlie Chan in Reno (1939), and John Ford's The Last Hurrah (1958). Renowned for his professionalism, and for his ability to play a wide range of characters in all genres, Cortez appeared in more than a hundred films and was recognized as one of the movies' premier heavies in a rogue's gallery of sexy wastrels and troublemakers, to more nefarious gangsters and maniacal murderers. In 1934, one astute critic proclaimed him "the magnificent heel." Relive his dramatic story, from his poverty-stricken childhood to Wall Street and on through Hollywood triumphs, tragedies, and scandals. The author draws from rare material gathered from key libraries and studio archives, much of which has never been published. 160 illustrations, including portraits, scene stills, and memorabilia from Cortez' personal collection, including his last passport, scrapbook, a contract, and letters. Index, Bibliography, and extensive End Notes. About the author: Dan Van Neste articles have appeared in Classic Images and Films of the Golden Age, and he is the author of The Whistler: Stepping Into the Shadows. He currently lives in Lansing, Michigan.

Author : Susan Lord,María Caridad Cumaná
Publisher : Indiana University Press
Page : 407 pages
File Size : 49,8 Mb
Release : 2021-07-06
Category : Performing Arts
ISBN : 9780253057075

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The Cinema of Sara Gómez by Susan Lord,María Caridad Cumaná Pdf

Throughout the 1960s until her untimely death in 1974, Afro-Cuban filmmaker Sara Gómez engaged directly and courageously with the social, political, economic, and cultural transformations promised by the Cuban Revolution. Gómez directed numerous documentary films in 10 prolific years. She also made De cierta manera (One way or another), her only feature-length film. Her films navigate complex experiences of social class, race, and gender by reframing revolutionary citizenship, cultural memory, and political value. Not only have her inventive strategies become foundational to new Cuban cinema and feminist film culture, but they also continue to inspire media artists today who deal with issues of identity and difference. The Cinema of Sara Gómez assembles history, criticism, biography, methodology, and theory of Gómez's work in scholarly writing; interviews with friends and collaborators; the film script of De cierta manera; and a detailed and complete filmography. Featuring striking images, this anthology reorients how we tell Cuban cinema history and how we think about the intersections of race, gender, and revolution. By addressing Gómez's entire body of work, The Cinema of Sara Gómez unpacks her complex life and gives weight to her groundbreaking cinema.

Author : Darién J. Davis
Publisher : Rowman & Littlefield
Page : 304 pages
File Size : 47,8 Mb
Release : 2007
Category : History
ISBN : 0742541312

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Beyond Slavery by Darién J. Davis Pdf

Beyond Slavery traces the enduring impact and legacy of the African diaspora in Latin America and the Caribbean in the modern era. In a rich set of essays, the volume explores the multiple ways that Africans have affected political, economic, and cultural life throughout the region. The contributors engage readers interested in the African diaspora in a series of vigorous debates ranging from agency and resistance to transculturation, displacement, cross-national dialogue, and popular culture. Documenting the array of diverse voices of Afro-Latin Americans throughout the region, this interdisciplinary book brings to life both their histories and contemporary experiences.

Author : Megan Feeney
Publisher : University of Chicago Press
Page : 320 pages
File Size : 42,8 Mb
Release : 2019-01-11
Category : History
ISBN : 9780226593722

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Hollywood in Havana by Megan Feeney Pdf

From the turn of the twentieth century through the late 1950s, Havana was a locus for American movie stars, with glamorous visitors including Errol Flynn, John Wayne, and Marlon Brando. In fact, Hollywood was seemingly everywhere in pre-Castro Havana, with movie theaters three to a block in places, widely circulated silver screen fanzines, and terms like “cowboy” and “gangster” entering Cuban vernacular speech. Hollywood in Havana uses this historical backdrop as the catalyst for a startling question: Did exposure to half a century of Hollywood pave the way for the Cuban Revolution of 1959? Megan Feeney argues that the freedom fighting extolled in American World War II dramas and the rebellious values and behaviors seen in postwar film noir helped condition Cuban audiences to expect and even demand purer forms of Cuban democracy and national sovereignty. At the same time, influential Cuban intellectuals worked to translate Hollywood ethics into revolutionary rhetoric—which, ironically, led to pointed critiques and subversions of the US presence in Cuba. Hollywood in Havana not only expands our notions of how American cinema was internalized around the world—it also broadens our view of the ongoing history of US-Cuban interactions, both cultural and political.

Author : Nicholas Balaisis
Publisher : Springer
Page : 201 pages
File Size : 47,6 Mb
Release : 2016-12-07
Category : Performing Arts
ISBN : 9781137584311

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Cuban Film Media, Late Socialism, and the Public Sphere by Nicholas Balaisis Pdf

This book maps the aesthetic experience of late socialism through Cuban film and media practice. It shows how economic and material scarcity as well as political uncertainty is expressed aesthetically in films from the period following the collapse of the Soviet Union, a characteristic described as imperfect aesthetics. The films examined in the book draw attention to the unique temporal experience of late socialism, a period marked both by rapid change and frustrating stasis, nostalgia for Cuba’s past and anxiousness about its future. Aesthetic modes such as melodrama and irony, and stylistic elements such as direct address and the long take, communicate the temporal experience of late socialism in Cuba, where new global traffic and a globalizing economy co-exist with iconic socialist features of the Cuban revolution. Film aesthetics constitute an important public dimension within this context, serving as a site of political and cultural critique amidst political uncertainty. In examining large-scale international co-productions as well as regional film collectives and amateur media making, the book traces the aesthetic continuities between contemporary film practices and those of the immediate post-revolutionary period, showing how the Cuban revolution continues to be an important touchstone for contemporary Cuban filmmakers in the face of new and imminent change.

Author : Ann Marie Stock
Publisher : Univ of North Carolina Press
Page : 370 pages
File Size : 49,5 Mb
Release : 2009
Category : Performing Arts
ISBN : 9780807832691

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On Location in Cuba by Ann Marie Stock Pdf

This study focusses on what the author calls Street Filmmaking - the production of audiovisual artists who work outside the state film industry - to examine the island's transformation and changing notions of Cuban identity.

Author : Anonim
Publisher : University of Illinois Press
Page : 250 pages
File Size : 45,6 Mb
Release : 2010-10-01
Category : Performing Arts
ISBN : 9780252090028

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Screening Cuba by Anonim Pdf

Hector Amaya advances into new territory in Latin American and U.S. cinema studies in this innovative analysis of the differing critical receptions of Cuban film in Cuba and the United States during the Cold War. Synthesizing film reviews, magazine articles, and other primary documents, Screening Cuba compares Cuban and U.S. reactions to four Cuban films: Memories of Underdevelopment, Lucia, One Way or Another, and Portrait of Teresa. In examining cultural production through the lens of the Cold War, Amaya reveals how contrasting interpretations of Cuban and U.S. critics are the result of the political cultures in which they operated. While Cuban critics viewed the films as powerful symbols of the social promises of the Cuban revolution, liberal and leftist American critics found meaning in the films as representations of anti-establishment progressive values and Cold War discourses. By contrasting the hermeneutics of Cuban and U.S. culture, criticism, and citizenship, Amaya argues that critical receptions of political films constitute a kind of civic public behavior.