On Location in Cuba: Street Filmmaking during Times of by Ann Marie Stock

By Ann Marie Stock

The Nineties have been a time of dramatic transformation for Cuba. With the cave in of its chilly conflict dating with the Soviet Union, the island kingdom plummeted into an period of shortage and uncertainty often called the unique interval, a time from which it emerged merely slowly within the new century. On position in Cuba perspectives those pivotal a long time throughout the lens of cinema. Ann Marie inventory carried out hundreds and hundreds of interviews and conversations in Cuba to check person artists' lives and inventive output—including movie, video, and audiovisual paintings. She explores the effect of the chilly War's finish, the industrial quandary that ensued, and the decentralization of the state's political, financial, and cultural gear. inventory specializes in what she calls road Filmmaking--the creation of rising audiovisual artists who paintings outdoor the nation movie industry--to learn the island's transformation and altering notions of Cuban identification. applying entrepreneurial methods to generating paintings and to negotiating the exigencies of globalization, this more youthful iteration of filmmakers bargains clean views on what it potential to be Cuban in an more and more complicated and hooked up global.

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Digital Introduction cameras and PC-based editing proliferated around the world. So, too, did VCRs, DVDs, PCs, CDs, and the Internet. The introduction of new technologies in Cuba provided an attractive alternative to the unwieldy industry equipment and infrastructure. It brought new ways of making, circulating, and accessing films. Satellites now beam films to Cuba from all over the world; island entrepreneurs have tucked their receptors into rooftop water tanks or camouflaged them with vegetation.

13 In Cuba, then as now, all these spheres are inextricably linked. The prominence of culture and its centrality to political and economic forces can surprise those unfamiliar with it. I recall one consulting trip early in this century, when our delegation was invited to the Presidential Palace for dinner with Fidel Castro and several members of his cabinet. As we milled about informally, the discussion ranged from golf games to the Gulf War and included Cuban films and Disney cartoons. S. visitor, impressed by Castro’s knowledge on a wide array of subjects, asked the then-commander-in-chief how much time he devoted to politics and Introduction  A pioneer of revolutionary filmmaking in Cuba and director of the Cine Pobre festival, Humberto Solás, in a recent documentary by Carlos Barba.

While expecting the credits to roll, we’re surprised by another sequence: A train moves slowly across the screen, past dilapidated buildings in a stark industrial zone. This long take is accompanied by the popular song “Quiéreme mucho” (“Yours”), in a rendition by the legendary Cuban singer Omara Portuondo. Paraphrased loosely, the lyrics go like this: “When love is real, like ours, it’s impossible to live apart. . I’ll be yours . . ” This Cuban love song underscores the resilience of love— love of family, love of community, love of patria, or homeland.

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