The book provides an invaluable resource for Latin American film
scholars, scholars of contemporary Nicaraguan state formation, and
cultural studies scholars intrigued with larger questions
concerning the relationship between the arts, social change,
mediation, and globalization. -- The Journal of Latin American
Anthropology "This is the only major study of Nicaraguan cinema
and, as such, it is invaluable not only to film students, but also
to third world studies and cultural work. . . . In a world
dominated by corporate culture, the effort by a small, poor,
underdeveloped country to construct a national film project has
importance as a model despite its failures." -- DeeDee Halleck,
author of Hand-Held Visions: The Uses of Community Media
Following the Sandinista Revolution in 1979, young bohemian
artists rushed to the newly formed Nicaraguan national film
institute INCINE to contribute to "the recovery of national
identity" through the creation of a national film project. Over the
next eleven years, the filmmakers of INCINE produced over seventy
films-- documentary, fiction, and hybrids-- that collectively
reveal a unique vision of the Revolution drawn not from official
FSLN directives, but from the filmmakers' own cinematic
interpretations of the Revolution as they were living it.
This book examines the INCINE film project and assesses its
achievements in recovering a Nicaraguan national identity through
the creation of a national cinema. Using a wealth of firsthand
documentation-- the films themselves, interviews with numerous
INCINE personnel, and INCINE archival records-- Jonathan Buchsbaum
follows the evolution of INCINE's project and situates itwithin the
larger historical project of militant, revolutionary filmmaking in
Latin America. His research also raises crucial questions about the
viability of national cinemas in the face of accelerating
globalization and technological changes which reverberate far
beyond Nicaragua's experiment in revolutionary filmmaking.
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