Cuban Cinema After The Cold War
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| Author | : Enrique García |
| Publisher | : McFarland |
| Total Pages | : 229 |
| Release | : 2015-10-14 |
| Genre | : Performing Arts |
| ISBN | : 1476620601 |
The changes Cuba experienced following the collapse of the Soviet Union compelled Cuban filmmakers to rethink the values developed after the 1959 Castro revolution. Long-forgotten genres re-emerged, established auteurs incorporated new aesthetics into their films and an influx of foreign capital led to the repackaging of revolutionary ideology into more visually attractive narratives. Films such as Alice in Wondertown (1991), Strawberry and Chocolate (1993) and Juan of the Dead (2011) stirred controversy, criticized revolutionary discourse and helped establish new models that allowed post-Castro cinema to find global audiences on an unprecedented scale. This book offers a detailed analysis of key post-Cold War Cuban films. Recurrent sociopolitical tropes are examined to reveal how Cuban cinema reflects the turbulent changes in the island.
| Author | : Hector Amaya |
| Publisher | : University of Illinois Press |
| Total Pages | : 250 |
| Release | : 2010-09-09 |
| Genre | : History |
| ISBN | : 0252035593 |
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 | : Enrique García |
| Publisher | : McFarland |
| Total Pages | : 229 |
| Release | : 2015-05-01 |
| Genre | : Performing Arts |
| ISBN | : 0786499109 |
The changes Cuba experienced following the collapse of the Soviet Union compelled Cuban filmmakers to rethink the values developed after the 1959 Castro revolution. Long-forgotten genres re-emerged, established auteurs incorporated new aesthetics into their films and an influx of foreign capital led to the repackaging of revolutionary ideology into more visually attractive narratives. Films such as Alice in Wondertown (1991), Strawberry and Chocolate (1993) and Juan of the Dead (2011) stirred controversy, criticized revolutionary discourse and helped establish new models that allowed post-Castro cinema to find global audiences on an unprecedented scale. This book offers a detailed analysis of key post-Cold War Cuban films. Recurrent sociopolitical tropes are examined to reveal how Cuban cinema reflects the turbulent changes in the island.
| Author | : Tony Shaw |
| Publisher | : |
| Total Pages | : 320 |
| Release | : 2010 |
| Genre | : History |
| ISBN | : |
The first book-length survey of cinema's vital role in the Cold War cultural combat between the U.S. and the USSR. Focuses on 10 films--five American and five Soviet, both iconic and lesser-known works--showing that cinema provided a crucial outlet for the global "debate" between democratic and communist ideologies.
| Author | : Megan Feeney |
| Publisher | : University of Chicago Press |
| Total Pages | : 310 |
| Release | : 2019-01-04 |
| Genre | : History |
| ISBN | : 022659369X |
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 | : Ann Marie Stock |
| Publisher | : Univ of North Carolina Press |
| Total Pages | : 369 |
| Release | : 2009-05-15 |
| Genre | : Performing Arts |
| ISBN | : 0807894192 |
The 1990s were a time of dramatic transformation for Cuba. With the collapse of its Cold War relationship with the Soviet Union, the island nation plummeted into an era of scarcity and uncertainty known as the Special Period, a time from which it emerged only slowly in the new century. On Location in Cuba views these pivotal decades through the lens of cinema. Ann Marie Stock conducted hundreds of interviews and conversations in Cuba to examine individual artists' lives and creative output--including film, video, and audiovisual art. She explores the impact of the Cold War's end, the economic crisis that ensued, and the decentralization of the state's political, economic, and cultural apparatus. Stock focuses on what she calls Street Filmmaking--the production of emerging audiovisual artists who work outside the state film industry--to examine the island's transformation and changing notions of Cuban identity. Employing entrepreneurial approaches to producing art and to negotiating the exigencies of globalization, this younger generation of filmmakers offers fresh perspectives on what it means to be Cuban in an increasingly complex and connected world.
| Author | : Lanie Millar |
| Publisher | : State University of New York Press |
| Total Pages | : 264 |
| Release | : 2019-09-01 |
| Genre | : Literary Criticism |
| ISBN | : 1438475926 |
In Forms of Disappointment, Lanie Millar traces the legacies of anti-imperial solidarity in Cuban and Angolan novels and films after 1989. Cuba's intervention in Angola's post-independence civil war from 1976 to 1991 was its longest and most engaged internationalist project and left a profound mark on the culture of both nations. After the fall of the Berlin Wall, Millar argues, Cuban and Angolan writers and filmmakers responded to this collective history and adapted to new postsocialist realities in analogous ways, developing what she characterizes as works of disappointment. Revamping and riffing on earlier texts and forms of revolutionary enthusiasm, works of disappointment lay bare the aesthetic and political fragmentation of the public sphere while continuing to register the promise of leftist political projects. Pushing past the binaries that tend to dominate histories of the Cold War and its aftermath, Millar gives priority to the perspectives of artists in the Global South, illuminating networks of anticolonial and racial solidarity and showing how their works not only reflect shared feelings of disappointment but also call for ethical gestures of empathy and reconciliation.
| Author | : Laura-Zoë Humphreys |
| Publisher | : Duke University Press Books |
| Total Pages | : 0 |
| Release | : 2019-10-25 |
| Genre | : Performing Arts |
| ISBN | : 9781478005476 |
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 | : Tatiana Prorokova-Konrad |
| Publisher | : Univ. Press of Mississippi |
| Total Pages | : 264 |
| Release | : 2020-12-15 |
| Genre | : Performing Arts |
| ISBN | : 1496831136 |
Contributions by Thomas J. Cobb, Donna A. Gessell, Helena Goscilo, Cyndy Hendershot, Christian Jimenez, David LaRocca, Lori Maguire, Tatiana Prorokova-Konrad, Ian Scott, Vesta Silva, Lucian Tion, Dan Ward, and Jon Wiebel In recent years, Hollywood cinema has forwarded a growing number of images of the Cold War and entertained a return to memories of conflicts between the USSR and the US, Russians and Americans, and communism and capitalism. Cold War II: Hollywood’s Renewed Obsession with Russia explores the reasons for this sudden reestablished interest in the Cold War. Essayists examine such films as Guy Ritchie’s The Man from U.N.C.L.E., Steven Spielberg’s Bridge of Spies, Ethan Coen and Joel Coen’s Hail, Caesar!, David Leitch’s Atomic Blonde, Guillermo del Toro’s The Shape of Water, Ryan Coogler’s Black Panther, and Francis Lawrence’s Red Sparrow, among others, as well as such television shows as Comrade Detective and The Americans. Contributors to this collection interrogate the revival of the Cold War movie genre from multiple angles and examine the issues of patriotism, national identity, otherness, gender, and corruption. They consider cinematic aesthetics and the ethics of these representations. They reveal how Cold War imagery shapes audiences’ understanding of the period in general and of the relationship between the US and Russia in particular. The authors complicate traditional definitions of the Cold War film and invite readers to discover a new phase in the Cold War movie genre: Cold War II.
| Author | : Catherine Krull |
| Publisher | : |
| Total Pages | : 0 |
| Release | : 2016-02-29 |
| Genre | : History |
| ISBN | : 9780813062174 |
Cuba in a Global Context examines the unlikely prominence of the island nation's geopolitical role. The contributors to this volume explore the myriad ways in which Cuba has not only maintained but often increased its reach and influence in Latin America, Europe, Africa, and Asia. From the beginning, the Castro regime established a foreign policy that would legitimize the revolutionary government, if not in the eyes of the United States at least in the eyes of other global actors. The essays in this volume shed new light on Cuban diplomacy with communist China as well as with Western governments such as Great Britain and Canada. In recent years, Cubans have improved their lives in the face of the ongoing U.S. embargo. The promotion of increased economic and political cooperation between Cuba and Venezuela served as a catalyst for the Petrocaribe group. Links established with countries in the Caribbean and Central America have increased tourism, medical diplomacy, and food sovereignty across the region. Cuban transnationalism has also succeeded in creating people-to-people contacts involving those who have remained on the island and members of the Cuban diaspora. While the specifics of Cuba's international relations are likely to change as new leaders take over, the role of Cubans working to assert their sovereignty has undoubtedly impacted every corner of the globe.
