Imagining Cuba’s New Revolutionary Communities Through Film (1959–1989)

doi:10.1017/9781009168359.024

23 - Imagining Cuba’s New Revolutionary Communities Through Film (1959–1989)

from Part IV - The Revolution’s Literary-Cultural Initiatives and Their Early Discontents

Published online by Cambridge University Press: 31 August 2024

Jessica Gordon-Burroughs

Edited by

Vicky Unruh and

Jacqueline Loss

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Vicky Unruh: Affiliation:
University of Kansas
Jacqueline Loss: Affiliation:
University of Connecticut

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Summary

This chapter unpacks the hegemonic attitudes within the extensive anticolonial project of Cuban feature-length and documentary film from 1959 to 1989. The chapter first explores the centrality in and contributions to the New Latin American cinema movement of Cuba, the Cuban Film Institute (ICAIC), and Cuban film directors Julio García Espinosa, Tomás Gutiérrez Alea, Humberto Solás, and Santiago Álvarez. At the same time, the chapter makes visible the many accomplished though lesser-known creative agents who helped shape these directors’ model of auteur esthetics, demonstrating how films by Sara Gómez and Nicolás Guillén Landrián also constitute fundamental and critical contributions to the Cuban cinematic canon of the period, which typically privileged the contributions of white men.

Keywords

Cuban film from 1959 to 1989 Cuban Film Institute (ICAIC)Cuban film and New Latin American cinema Cuban film alternatives to auteur model Julio García Espinosa (1926–2016)Tomás Gutiérrez Alea (1928–1996)Humberto Solás (1941–2008)Santiago Álvarez (1919–1998)Sara Gómez (1942–1974)Nicolás Guillén Landrián (1938–2003)

Type: Chapter
Information: The Cambridge History of Cuban Literature , pp. 368 - 383

DOI: https://doi.org/10.1017/9781009168359.024 [Opens in a new window]

Publisher: Cambridge University Press

Print publication year: 2024

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