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	Film and Director Index
		Cuban audiences have been moved to laughter and tears, debate and celebration, by dramas and documentaries directed by the men and women represented here.
		In the early 1960's, as part of Operation Peter Pan, 14,000 Cuban children were taken to the U.S. as a result of a false rumour spread in Cuba that the government was planning to send children to the USSR for Marxist-Leninist indoctrination.
		Cuban society was shocked and moved by such images.
	www.queensu.ca /snid/filmindex.html (1897 words)

	Cinema of Cuba - Wikipedia, the free encyclopedia
		Although cinema arrived at Cuba at the beginning of the 20th century and the island arrived early to the television phenomena and cinematographic production, before the triumph of the Cuban Revolution around 80 full-length films were produced, most of them were melodramas which did not say much about the reality of the country.
		The first ten years of the institution were called by the critics the Golden Age (Decada de Oro) for the Cuban cinema, most of all because of the making of Lucía (1969) by Humberto Solás and Memorias del subdesarrollo (1968) by Tomás Gutiérrez Alea.
		Essential in the history of Cuban cinema is the Noticiero ICAIC Latinoamericano (Latin-american ICAIC News) whose first director was Alfredo Guevara, current president of the ICAIC.
	en.wikipedia.org /wiki/Cuban_cinema (1308 words)

	art32
		Since its birth, Cuban cinema had participated in the debates of the time, and not without a strong tint of melodrama if we can judge from newspaper references (since there are few extant films on which to base an opinion).
		Cuban filmmakers would refer again and again to the guerrilla struggle, both in their zeal to be of service and because they were inspired by an epic that had given their society a definitive change of direction.
		Cuban intellectuals rejected the formulas of so-called socialist realism without negating the epic, which was integral to their experience.
	www.cubaupdate.org /art32.htm (5775 words)

	Revolutionary Cuban cinema by Julianne Burton
		During this period, Cuban cinema and the related arts of music and poster design have continually succeeded in breaking through the cultural blockade to assert the political integrity and unbridled creative energy of this struggling socialist society.
		Cubans were exposed to the moving image as early as citizens of any country on the continent, the first Lumière films making their debut there in 1897.
		Cubans interpret each of these terms in a broad and fluid way: underdevelopment as the economic and technological heritage of colonial dependency, which has its more stubborn manifestations in individual and collective psychology, ideology, and culture; history as a complex of formative influences which elucidates the present and informs the future.
	www.ejumpcut.org /archive/onlinessays/JC19folder/CubanFilmIntro.html (5301 words)

	Memories of a Revolutionary Cinema
		Although this cinema experienced various evolutionary phases throughout the twentieth century, it was the influence of Nuestro Tempo and Italian neo-realism during the 1950s that made a particular impact and left imprints still recognizable by the late 1960s.
		This newly born cinema attempted to "[liberate] documentary from the conventions of commercial film, such as insistent but insensitive background music, swish editing based on misplaced codes of fictional narrative, the alienation and paternalism of the commentary" as well as from the (mistaken) belief that reality is readily graspable and presentable (5).
		This type of cinema is characterized by both 'transtextuality', via citations, allusions, documentary footage or other borrowings, and 'hypertextuality', via the derivation of one text from another effected by satire or parody.
	www.sensesofcinema.com /contents/00/2/memories.html (6425 words)

	Cuban Cinema
		The boom in Cuban cinema following the 1959 revolution represents one of the most remarkable episodes in film history.
		Death Of A Bureaucrat (1966) is a lacerating satire that mocks the officiousness and inefficiency of the Communist Establishment, as it follows Manuel Estanillo's hapless effort to arrange a funeral.
		The role of women in Cuban society is pivotal to Plaff, as it is to Humberto Solas's 1968 masterpiece, Lucia.
	www.bbc.co.uk /films/festivals/cuban_cinema_2006.shtml (640 words)

	siempre @ revolucion .com / Cuba, Kuba, Havana, La Habana / Puros, Salsa y Mojitos
		Cuban filmmakers involved with ICAIC have, for the most part, balanced their personal artistic expression with a sense of commitment to the revolution.
		Cuban filmmaker Tomás Gutiérrez Alea died in 1996 at the age of 67, after a four-year battle with lung cancer, but not before enjoying renewed international attention late in his career with the art-house successes of Strawberry and Chocolate (1993) and Guantanamera (1995), two films he co-directed with Juan Carlos Tabío.
		Directed by Cuban veteran Julio Garcia Espinosa, Queen and King is a sweet fable about an elderly woman and her devoted dog in contemporary Havana, laced with just enough social and political bite concerning daily privation in Cuba.
	www.revolucion.com /cinema2.htm (4378 words)

	Cuba Now / LA Weekly - Cuba News / Noticias - CubaNet News
		Cinema is seen as a crucial element in the formation of culture, and both Martí and Castro stressed, in their different ways, that without culture there can be no freedom.
		Guevara won the debate, and thus a Cuban cinema was born in which the merits and failings of the political-economic system could to some extent be shown.
		Probably the Cuban Revolution, along with Cuban cinema, survives because it is far from static." Another reason for this survival, the director told me, is humor.
	www.cubanet.org /CNews/y01/mar01/02e9.htm (1189 words)

	Cuban Cinema: The Take Off
		The deterioration of more than 400 cinema theaters in the country, because of a lack of funding for their refurbishment, was added to this, with the resulting decrease in moviegoers, although Cubans are among the most film loving people in the world.
		Cuban cinema showed its first signs of recovery in 2003, when it showed eight fiction works, four of them feature-length films, and seven documentaries, in Havana’s International Festival of the New Latin American Cinema.
		The most talked-about Cuban film in 2005 was Viva Cuba, by Juan Carlos Cremata, which brought home the Grand Prix Ecrans Juniors, the first time Cuba receives an award in one of the events associated to the Cannes Film Festival, in France.
	www.cubanow.net /global/loader.php?&secc=1&cont=show.php&item=1244 (613 words)

	New York State Writers Institute - Los Sobrevivientes (The Survivors) Film Notes (Site not responding. Last check: 2007-11-07)
		They rejected Hollywood's influence and methods, sought a contemporary form of artistic expression, were disposed to assimilate experimental and anticommercial tendencies, acknowledged a debt to the European avant garde, and had their heads full of dreams.
		Cuban filmmakers would refer again and again to the guerrilla struggle, both in their zeal to be of service and because they were inspired by an epic that had given their society a definitive change of direction.
		From this point on, ICAIC was the vanguard of intellectual thinking and practice in Cuba, which would be demonstrated later, when the flow of events and the character of the Cuban political process imposed a schematic regimen on the rest of the arts, with particular rigor in theater and literature.
	www.albany.edu /writers-inst/fnf01n9.html (1766 words)

	Cuban cinema pokes fun at tough reality / Reuters - Cuba News / Noticias - CubaNet News
		The film, named after a popular Cuban song about a girl from Guantanamo province, was well-received by moviegoers at home and abroad but may have cut too close to the bone, prompting a public rebuke from Castro in a 1998 speech.
		Cuban actor Carlos Cruz, who played a state bureaucrat in ``Guantanamera,'' painted a grim picture of the local film sector after announcing his decision to seek political asylum in the United States during a trip to Miami this month.
		Perogurria, a friend and colleague of Cruz, defended Cuban cinema's ``social commitment'' but, with a candor permissible in public here perhaps only for someone of his status, he admitted artists have sometimes had to struggle against censorship.
	www.cubanet.org /CNews/y99/nov99/02e6.htm (1250 words)

	FESTIVALS: Boomtime for Latin American Cinema: Havana's Year 23
		Cuban cinephiles came close to storming through the front doors of the Yara Movie Palace to see Mexican director Alfonso Cuaron's coming of age road film "Y Tu Mama Tambien." "Anything with sex draws a big crowd," commented a harried usher with a wink.
		This year, Cuban cinema seems to be making its way out of its recent doldrums with strong films by new directors Juan Carlos Cremata and Humberto Padron and old lions Orlando Rojas and Humberto Solas.
		While Latin American cinema is the major thrust of the festival, the influence of the U.S., U.S. culture, and U.S. film is strongly felt.
	www.indiewire.com /ots/fes_01Havana_011218_wrap.html (1487 words)

	[No title] (Site not responding. Last check: 2007-11-07)
		Alicia Alonso termed the Cuban National Ballet Company-s tour of 19 US cities which included 29 performances as the most intense and important in that country, because it was acclaimed by both critics and audiences, and due to the messages of peace, friendship and artistic devotion shown by the Cuban ensemble during the tour.
		Cubans are once again feeling the magic of movies with this festival which, for 25 years, has attracted hundreds of thousands of spectators interested in the newest of the Latin American film industry.
		López affirmed that the Cuban Revolution is the most important event in the last 50 years and she gave examples of the Caribbean island -s social achievements, especially the mass education, which is of the highest quality in the region, according to UNESCO.
	listas.cult.cu /pipermail/cubart/2003-December.txt (18102 words)

	Our Summer School at the University of Havana (Site not responding. Last check: 2007-11-07)
		A-Cuban literature, Caribbean culture in Cuba and Cuban cinema
		This course seeks to analyse the development of Cuban cinema from its early years to the flowering period of the New Latin-American cinema.
		Based on screen showings, it introduces students to the main characteristics of Cuban cinema, its different trends and most significant events from the 1960's to the present day.
	www.didactheque.com /site_anglais/EU/cours_UE.htm (525 words)

	CUBANS-Art
		Cuban music is a distinctive combination of Spanish and African elements: The rumba, guaracha, bolero, conga, and cha-cha are among Cuban rhythms enjoyed by listeners and dancers all over the world.
		Cuban filmmakers have earned respect in international cinematographic circles and are particularly adept at capturing varied facets of social problems within a narrative or anecdotal framework.
		Cuban posters are perhaps the best and most popular example of Cuban art, and form one of the country's national exports.
	www.cal.org /co/cubans/ART.HTM (461 words)

	Ikú and Cuban Nationhood: Yoruba Mythology in the Film 'Guantanamera'
		Cuban cinema after 1959 is invested in constructing and presenting cultural histories consistent with the ideology of the revolution.
		In this way, imperfect cinema symbolizes the position of Cuban filmmakers and audiences: to be stuck between two different moments of history, two different populations (on island and in exile), two different economic and social systems.
		Imperfect cinema speaks to what Cubans are dealing with in the early years of the revolution: separation from family and friends, the construction of a new society and identity, and building a national populous they could still call "Cuba." Directors like Espinosa and Alea hope to create a new type of audience with imperfect cinema.
	www.africa.upenn.edu /Workshop/solima98.html (4187 words)

	Cuba si, Cuban cinema no - News - The Phoenix
		The outstanding case, of course, is the Soviet cinema, which caused such a stir in its early days that people often forget how quickly the experimentation and achievement came to an end.
		The Cuban Film Festival, which plays the Park Square from September 29 to October 12, and is being co-sponsored by the theater and FM station WBUR, is mainly a sad event.
		The upper-class Cuban abolitionists wanted the slaves freed so their labor would be available, at low wages, to joint exploitation by the landowners and British capital.
	thephoenix.com /article_ektid27166.aspx (625 words)

	Cuban cinema in exile by Ana M. López
		Nevertheless, the Cuban exile community is a significant one and cannot be dismissed.
		In different ways, their films and videos, especially those of the first and second generations of filmmakers, articulate and attempt to contain the traumas of exile by repeating and denouncing the actual experience (the history of departures) and by symbolically reconstructing the "lost" home (with)in a new imagined community.
		In fact, their films often participate in what may be called a "Cuban" political culture or political imaginary that exceeds the geographical boundaries of the island-nation and that have been a constant feature of Cuban political life at least since the 1890s.
	www.ejumpcut.org /archive/onlinessays/JC38folder/ExileCubanCinema.html (4619 words)

	Green Left - Cuban film director tours Australia (Site not responding. Last check: 2007-11-07)
		Our idea was not to defend only a children’s cinema, but a cinema where adults can see children’s problems, problems that touch them, because they are the guardians of these children.
		Certainly Cremata follows the tradition in Cuban film of honestly and openly tackling the myriad of challenges facing the Cuban people, and presenting them to Cuba and the world in a thought-provoking as well as aesthetically captivating way.
		“Cuban cinema continues being fundamentally driven by Cuban directors and cinematographers, who are learning each year the possibilities of co-production, because we are in a position to cooperate with other countries such as Spain and France, and other countries of the Third World”, Cremata said.
	www.greenleft.org.au /2006/657/7372 (1361 words)

	The Hindu : `I am an obstinate dreamer'
		His "Un Hombre de Exito" was the first Cuban film to be nominated for the Oscar for the Foreign Film category.
		Cuban cinema has changed a lot from the time you entered the field till now.
		I have a debt of gratitude to this giant master, so I am organising a retrospective of his films in the new edition of my film festival, which is going to be held next year-end or at the beginning of 2005.
	www.hindu.com /fr/2004/01/30/stories/2004013001360800.htm (743 words)

	Cuban Cinema
		Michael Chanan provides a comprehensive, authoritative, and absorbing account of Cuban cinema both before and after the revolution, deftly setting individual films and filmmakers within the larger framework of Cuba’s social, political, and cultural history.
		First published as The Cuban Image in 1984 to wide acclaim, Cuban Cinema now appears in a new, expanded edition that updates Chanan’s discussion to the beginning of the twenty-first century.
		The only book-length study of Cuban cinema written in English, this indispensable work on one of the world’s most vital national cinemas offers a unique perspective on the Cuban experience in the twentieth century.
	www.upress.umn.edu /Books/C/chanan_cuban.html (515 words)

	The young look in Cuban cinema (Site not responding. Last check: 2007-11-07)
		The main exhibition consists of a total of 32 films made by 40 Cuban filmmakers who are under the age of 35.
		In addition to this, a homage will be paid to late Cuban director Oscar Valdés, one of the founders of Cuban cinema after the triumph of the revolution, which will include a retrospective of his most significant films.
		Its open and heterogeneous character favours the new encounter of the youngest, whether they are filmmakers or not, with those cinema men whose experience is vital for the development of this artistic expression.
	www.cubanow.net /global/loader.php?&secc=8&cont=show.php&item=2106 (561 words)

	Cuban Cinema Classics: Catalog
		Images of the icons of the major Hollywood studios give way to Cuban faces and places; the soundtrack first blasts "Rock Around the Clock" and then narrates the decree establishing the Cuban film institute (ICAIC).
		Viewers are permitted a glimpse of the excitement and wonder as Cubans in the countryside experience cinema for the first time.
		Each year, Cubans mark the anniversary of his death by floating flowers into the sea, a gesture reminiscient of the mysterious conditions surrounding his disappearance.
	www.wm.edu /cubancinemaclassics/catalog.htm (693 words)

	Cuban Cinema Classics: News
		With memories of the 25th International Festival of New Latin American Cinema in Havana still fresh, Cuban screens are filled once again with images of the films participating in two other cinema events: the III National Exhibit of New Filmmakers and the V Festival of Documentary Films in Memory of Santiago Álvarez.
		The III National Exhibit of New Filmmakers was officially inaugurated on 25 February in Charles Chaplin cinema.
		Documentaries from the Cuban Cinema Classics initiative will be screened during this festival and Luis Enrique Prieto will share with the audience the history of CCC and his experiences collaborating with Ann Marie Stock in designing the project.
	www.wm.edu /cubancinemaclassics/Morecuban.htm (262 words)

	HAVANA \| CINECITY 2005 \| THE BRIGHTON FILM FESTIVAL
		Cuban cinema and its film poster art - full of artistic integrity rather than propaganda - was an integral part of the revolution.
		This exhibition traces the history of Cuban cinema through its film posters highlighting the art in the advertising.
		Michael Chanan and Rafael Hernández present an illustrated overview of the development of Cuban cinema since the founding of the country’s film institute in 1959 with particular emphasis on images of Havana.
	www.cine-city.co.uk /2005/havana.html (1558 words)

	Havana and the Special Period in the Cinema of Fernando Pérez
		The films utilize techniques of the cinema style of different periods of Cuban cinema and create metaphors for the traditionally appropriated national allegories of Cuban identity.
		The experiences of the Cubans that are still living within the territorial confines of the island are exemplified by experiences of living in an abyss of loss, separation, and isolation.
		By including an ensemble of secondary characters that are tourists or visitors (and are connected to the primary characters), Pérez not only shades the discourses pertinent to the state of the nation within a cultural touristic economy but also allows for a representation of the impressive transnational encounters that arise given Cuba’s political situation.
	www.lehman.cuny.edu /ciberletras/v13/rubio.htm (3820 words)

	Resistance Cinema (Site not responding. Last check: 2007-11-07)
		It constructed itself similar to Cuban and Puerto Rican cinema: "in opposition of Hollywood and in alliance with New Latin American Cinema" (Noriega 4).
		Puerto Ricans, similar to Cubans and Chicanos used documentaries to "expose the terrible conditions under which they were raised; challenge the assumptions under which these conditions thrived; and re-create the institutions and society that engendered them" (Jimenez 188).
		Cubans, Puerto Ricans, and Chicanos used cinema as a way to better the degrading images produced by Hollywood.
	www.trincoll.edu /~cmorel/resistan.htm (825 words)

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