Cuba: A View From Inside-Short Films By About Cuban Women
Published by Center For Cuban Studies, 1992
- First Edition
- Softcover
- Used
Seller: zenosbooks, San Francisco, CA, U.S.A.zenosbooks
AbeBooks seller since March 24, 1997
Condition: Used
£ 34.76
Quantity: 1 available
Add to basketItem description from seller
New York. 1992. Center For Cuban Studies. 1st American Edition. Very Good in Wrappers. 50 pages. paperback. Cover design by Umberto Pena. keywords: Latin America Cuba Caribbean Film Women. DESCRIPTION - Many Cuban feature films of the last 30 years have become staples of universities and art houses but except for the didactic shorts of Santiago Alvarez, U.S. audiences have had almost no chance to see Cuban short films, which are shot in 35 mm for home consumption - the Cuban Film Institute has no 16 mm capacity and rarely subtitles shorts. Were it not for the support of the New York State Council on the Arts and the New York Council for the Humanities for this project, no more than two or three of these films would ever reach a non-Spanish speaking audience. This would be a special loss in the case of the Sara Gomez films, critically acclaimed for 25 years. Cubans call their short non-fiction films documentaries,' but they bear little similarity to U.S. documentaries. Instead, Cuban short films represent a unique art form. Almost all of Cuba's directors started out making these documentaries and many continue making them long after they've graduated to feature films. Even their fiction feature films bear the mark of having started with non-fiction. For example, Tomäs Gutierrez Alea made the documentary Death to the Invader' (Muerte al invasor) with Santiago Alvarez in 1961, and later Arte del tabaco and Cumbite. Alea's Memories of Underdevelopment' (Memorias del subdesarrollo, 1968), considered a classic of Latin American cinema, seamlessly combines fiction with documentary footage. Director Humberto Solas (Lucia, 1968) made the 10-minute short Obataleo as late as 1988. Most Cuban documentary short films are very different from those made here: because of the shortage of film, Cuban directors do not have the luxury of shooting as much as they want and later sculpting an edited version of the factual material. Their shorts are therefore more carefully scripted before they begin filming. Shorts use fictional elements more than U.S. documentaries, too, in part because people are not accustomed to talking about themselves on camera and in part because directors are trying out their fictional skills - for example, Rebeca Chavez uses an actor to portray Tamara Bunke (Tania') in Una mas entre ellos, and uses actors to substitute for real life respondents in Castillos en el aire. Sometimes Cuban shorts are simply poetic commentaries on a subject, leaving the foreign viewer gasping for information; people and events well-known to Cuban audiences are seldom identified or explained. For 20 years, the Center for Cuban Studies has endeavored to extend the information available about Cuba in the United States. It is our hope that by focusing on a theme which is important to all societies, the role of women, we can further contribute to a dialogue between our two countries. inventory #25073.…
Seller Inventory # z25073
Bibliographic details
- Title
- Cuba: A View From Inside-Short Films By About Cuban Women
- Author
- Center For Cuban Studies
- Publisher
- Center For Cuban Studies
- Publication year
- 1992
- Condition
- Very Good in Wrappers
- Dust jacket
- No Jacket
- Binding
- paperback
- Edition
- First Edition.
zenosbooks
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