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Author: Nicholas Balaisis
Publisher: Springer
ISBN: 1137584319
Category : Performing Arts
Languages : en
Pages : 211
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Book Description
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: Nicholas Balaisis
Publisher: Springer
ISBN: 1137584319
Category : Performing Arts
Languages : en
Pages : 211
Get Book Here
Book Description
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: Margaret G. Frohlich
Publisher: Springer Nature
ISBN: 3031189469
Category : Performing Arts
Languages : en
Pages : 223
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Book Description
This book explores how young Cuban filmmakers have expanded the range of sexual subjectivities on screen. It analyzes cine joven (films made by young directors) from the late 1980s to the early 2020s, film reviews, articles, and materials from the Cinematheque of Cuba's archive to illustrate the confluence of sexuality, cinema, and discourses of youth. While sexual and cinematic cultures have their own unique relation to the public sphere, state institutions, and transnational flows, this book explores tensions, debates, and expressions that unite them. In an investigation of how young filmmakers employ queer strategies of self-making to bring sexual diversity to the screen, Margaret G. Frohlich shows us how cine joven takes part in the socialization of power in Cuba.
Author: Laura-Zoë Humphreys
Publisher: Duke University Press
ISBN: 1478007141
Category : Performing Arts
Languages : en
Pages : 185
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Book Description
In Fidel between the Lines Laura-Zoë Humphreys traces the changing dynamics of criticism and censorship in late socialist Cuba through a focus on cinema. Following the collapse of the Soviet Union, the Cuban state strategically relaxed censorship, attempting to contain dissent by giving it an outlet in the arts. Along with this shift, foreign funding and digital technologies gave filmmakers more freedom to criticize the state than ever before, yet these openings also exacerbated the political paranoia that has long shaped the Cuban public sphere. Drawing on ethnographic fieldwork, textual analysis, and archival research, Humphreys shows how Cuban filmmakers have historically turned to allegory to communicate an ambivalent relationship to the Revolution, and how such efforts came up against new forms of suspicion in the 1990s and the twenty-first century. Offering insights that extend beyond Cuba, Humphreys reveals what happens to public debate when freedom of expression can no longer be distinguished from complicity while demonstrating the ways in which combining anthropology with film studies can shed light on cinema's broader social and political import.
Author: Helene Carol Weldt-Basson
Publisher: Springer
ISBN: 3319904302
Category : Literary Criticism
Languages : en
Pages : 267
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Book Description
This book examines postmodern parody in Latin American literature as the intersection between ideology construction and deconstruction. Parody’s chief task is to deconstruct and criticize the ideologies behind previous texts. During this process, new ideologies are inevitably constructed. However, postmodernism simultaneously recognizes the partiality of all ideologies and rejects their enthronement as absolute truth. This raises the question of how postmodern parody deals with the paradox inherent in its own existence on the threshold between ideology construction/deconstruction and the rejection of ideology. This book explores the relationship between parody and ideology, as well as this paradox of postmodern parody in works written by writers ranging from early twentieth-century poets to the most recent novel by the Nobel Prize-winning Mario Vargas Llosa. The analyses include such authors as Cristina Peri Rossi, Manuel Puig, Luisa Valenzuela, Enrique Sánchez, Roberto Bolaño, Claudia Piñeiro, Margarita Mateo Palmer, Boris Salazar and Rosario Ferré.
Author: Andrea Easley Morris
Publisher: Routledge
ISBN: 1000074536
Category : Literary Criticism
Languages : en
Pages : 222
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Book Description
Migrant and Tourist Encounters: The Ethics of Im/mobility in 21st Century Dominican and Cuban Cultures analyzes the effects of clashing flows of voluntary and involuntary travelers to and from these countries due to an increase in migration and tourism during the last three decades. I compare the ways in which literary works and films reflect on and critique the power relations and ethics of im/mobility and encounter, both on the islands and in destinations abroad. The works draw attention to the interconnectedness of migration, tourism, and other forms of travel as well as immobility, and portray growing local and global inequalities through characters’ disparate access to free, voluntary movement. I consider how the works respond to the question of the moral potential of encounters produced by im/mobilities and the possibility of connection across differences. I argue that Dominican and Cuban artists not only critique neo-colonial paradigms of power and im/mobility, but envision and enact strategies for belonging and, in some cases, suggest a path toward de-colonial cosmopolitanism.
Author: Michael Chanan
Publisher: U of Minnesota Press
ISBN: 9780816634248
Category : Performing Arts
Languages : en
Pages : 564
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Book Description
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: Michael Chanan
Publisher: U of Minnesota Press
ISBN: 1452906920
Category : Performing Arts
Languages : en
Pages : 559
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Book Description
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: David Craven
Publisher: Yale University Press
ISBN: 9780300120462
Category : Art
Languages : en
Pages : 246
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Book Description
In this uniquely wide-ranging book, David Craven investigates the extraordinary impact of three Latin American revolutions on the visual arts and on cultural policy. The three great upheavals - in Mexico (1910-40), in Cuba (1959-89), and in Nicaragua (1979-90) - were defining moments in twentieth-century life in the Americas. Craven discusses the structural logic of each movement's artistic project - by whom, how, and for whom artworks were produced -- and assesses their legacies. In each case, he demonstrates how the consequences of the revolution reverberated in the arts and cultures far beyond national borders. The book not only examines specific artworks originating from each revolution's attempt to deal with the challenge of 'socializing the arts,' but also the engagement of the working classes in Mexico, Cuba, and Nicaragua with a tradition of the fine arts made newly accessible through social transformation. Craven considers how each revolution dealt with the pressing problem of creating a 'dialogical art' -- one that reconfigures the existing artistic resource rather than one that just reproduces a populist art to keep things as they were. In addition, the author charts the impact on the revolutionary processes of theories of art and education, articulated by such thinkers as John Dewey and Paulo Freire. The book provides a fascinating new view of the Latin American revolutionaries -- from artists to political leaders -- who defined art as a fundamental force for the transformation of society and who bequeathed new ways of thinking about the relations among art, ideology, and class, within a revolutionary process.
Author: Megan Feeney
Publisher: University of Chicago Press
ISBN: 022659369X
Category : History
Languages : en
Pages : 310
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Book Description
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: Laura-Zoë Humphreys
Publisher: Duke University Press Books
ISBN: 9781478005476
Category : Performing Arts
Languages : en
Pages : 0
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Book Description
In Fidel between the Lines Laura-Zoë Humphreys traces the changing dynamics of criticism and censorship in late socialist Cuba through a focus on cinema. Following the collapse of the Soviet Union, the Cuban state strategically relaxed censorship, attempting to contain dissent by giving it an outlet in the arts. Along with this shift, foreign funding and digital technologies gave filmmakers more freedom to criticize the state than ever before, yet these openings also exacerbated the political paranoia that has long shaped the Cuban public sphere. Drawing on ethnographic fieldwork, textual analysis, and archival research, Humphreys shows how Cuban filmmakers have historically turned to allegory to communicate an ambivalent relationship to the Revolution, and how such efforts came up against new forms of suspicion in the 1990s and the twenty-first century. Offering insights that extend beyond Cuba, Humphreys reveals what happens to public debate when freedom of expression can no longer be distinguished from complicity while demonstrating the ways in which combining anthropology with film studies can shed light on cinema's broader social and political import.
