The Cinema of Cuba

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.>

Préface
A comprehensive collection of essays from the leading scholars of Cuban cinema, exploring the emerging contemporary film scene in a rapidly-changing nation.

Auteur
Guy Baron is Senior Lecturer at Aberystwyth University, UK. He has published widely on Cuba, in particular on Cuban cinema - including his book Gender in Cuban Cinema (2011) - and his many articles have appeared in Hispanic Studies, Revista Cine Cubano and the Bulletin of Latin American Research amongst other publications.Ann Marie Stock is an award-winning Professor of Hispanic Studies and Film and Media, as well as a University Library Faculty Scholar, at the College of William & Mary in Virginia. She is the author of On Location in Cuba: Street Filmmaking during Times of Transition (2009, 2015) and editor of World Film Locations: Havana (2014). Dr. Stock is the founding director of Cuban Cinema Classics (www.cubancinemaclassics.org): a non-profit initiative designed to subtitle and disseminate Cuban documentaries.Antonio Alvarez Pitaluga is Vice-Dean of the Faculty of Philosophy and History at the University of Havana. He specialises in Cuban cultural history and is published widely including his book Revolucion, Hegemonia y Poder: Cuba 1985-1898 (2012).

Contenu
Preface PART ONE: CONTEXT Introduction to Part One: The History of Cuban Cinema: A Pending Task for the Social Sciences in the Twenty-First Century ANTONIO ÁLVAREZ PITALUGA Brief Notes on a History of Cuban Cinema (1959-2015) ANTONIO ÁLVAREZ PITALUGA 2. Cuban Cinema at the Start of the New Millennium: Dysfunction, Isolation and the Struggle for Identity GUY BARON 3. Community Film and Audiovisual Production in Cuba JESÚS GUANCHE 4. Cinema, Race and Revolution: Dialogue and Disagreements of a Cuban Trilogy ALEJANDRO L. FERNÁNDEZ CALDERÓN PART TWO: TEXTS AND AUTEURS Introduction to Part Two: Cuban Cinema: Crisis or Transition? GUY BARON 5. Cubist Cuba: Memorias del desarrollo (Memories of Overdevelopment, 2010) ROB STONE 6. And Then Came the Special Period: The Cinema of Fernando Pérez MICHAEL CHANAN 7. Zombie Nation: Monstrous Identities in Three Cuban Films DUNJA FEHIMOVIC 8. The Director as Social Critic: Guantanamera and Barrio Cuba JESSICA GIBBS 9. Within, Against, Inside, Out: Ian Padrón, Fuera de liga, Habanastation, and Music Video RYAN PROUT PART THREE: CLOSE UPS Introduction to Part Three: Struggling against Separation: Cuban Filmmakers Create and Connect in the 21st Century ANN MARIE STOCK 10. The Circular Road: National Cinema - Global Film ARAM VIDAL 11. The Trains of Silence ONEYDA GONZÁLEZ 12. From the Community to the World: The Perspective of an Individual Creator within the Televisión Serrana Audiovisual Collective CARLOS Y. RODRÍGUEZ 13. From exilic to diasporic: new Cuban cinemas in the United States ZAIRA ZARZA