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Schroeder offers a thorough introduction to the films of Tomás Gutiérrez Alea, Cuba's leading filmmaker, covering all 12 of Alea's feature films and examining in depth his three best films within the context of revolutionary Cuba.
Schroeder offers a thorough introduction to the films of Tomás Gutiérrez Alea, Cuba's leading filmmaker, covering all 12 of Alea's feature films and examining in depth his three best films within the context of revolutionary Cuba.
Offers alternative insights into the complex relationship between politics and intelligentsia in revolutionary Cuba.
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.
In this book, Marvin Leiner analyzes the practice of quarantine in the context of the Cuban Revolution. He also focuses on efforts by Cuban educators to introduce sex education in the schools and to change sexist and homophobic attitudes, discussing their successes and failures with candor and examining the explicit and implicit linkages between machismo and homophobia.
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.
Drawing on the personal experiences and observations of Cubans living both in Cuba and in Miami, this informative study provides a close-up look at Cuban society and culture, examining what life is like for the Cuban people after nearly fifty years of Castro's rule, how Cubans living in the United States manage, and the relationship between the two groups of Cubans.
Conventional silent cinema -- Avant-garde silent cinema -- Transition to sound -- Birth and growth of an industry -- Crisis and decline of studio cinema -- Neorealism and art cinema -- New Latin American cinema's militant phase -- New Latin American cinema's Neobaroque phase -- Collapse and rebirth of an industry -- Latin American cinema in the twenty-first century -- Conclusion : a triangulated cinema -- Appendix : discourses of modernity in Latin America