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In recent years, Mexican films have received high acclaim and
impressive box-office returns. Moreover, Mexico has the most
advanced movie industry in the Spanish-speaking world, and its
impact on Mexican culture and society cannot be overstated.
Mexico's Cinema: A Century of Film and Filmmakers is a collection
of fourteen essays that encompass the first 100 years of the cinema
of Mexico. Included are original contributions written specifically
for this title, plus a few classic pieces in the field of Mexican
cinema studies never before available in English. These essays
explore a variety of themes including race and ethnicity, gender
issues, personalities, and the historical development of a national
cinematic style. Each of the book's three sections-The Silent
Cinema, The Golden Age, and The Contemporary Era-is preceded by a
short introduction to the period and a presentation of the major
themes addressed in the section. This insightful anthology is the
first published study that includes pieces by Mexican and North
American scholars, including a piece by the internationally
acclaimed essayist Carlos Monsivais. Contributors include other
acclaimed scholars and critics as well as young scholars who are
currently making their mark in the area of film studies of Mexico.
These authors represent various fields-community studies, film
studies, cultural history, ethnic studies, and gender
studies-making this volume an interdisciplinary resource, important
for courses in Latin America and Third World cinema, Mexican
history and culture, and Chicana/o and ethnic studies.
In recent years, Mexican films have received high acclaim and
impressive box-office returns. Moreover, Mexico has the most
advanced movie industry in the Spanish-speaking world, and its
impact on Mexican culture and society cannot be overstated.
Mexico's Cinema: A Century of Film and Filmmakers is a collection
of fourteen essays that encompass the first 100 years of the cinema
of Mexico. Included are original contributions written specifically
for this title, plus a few classic pieces in the field of Mexican
cinema studies never before available in English. These essays
explore a variety of themes including race and ethnicity, gender
issues, personalities, and the historical development of a national
cinematic style. Each of the book's three sections-The Silent
Cinema, The Golden Age, and The Contemporary Era-is preceded by a
short introduction to the period and a presentation of the major
themes addressed in the section. This insightful anthology is the
first published study that includes pieces by Mexican and North
American scholars, including a piece by the internationally
acclaimed essayist Carlos Monsivais. Contributors include other
acclaimed scholars and critics as well as young scholars who are
currently making their mark in the area of film studies of Mexico.
These authors represent various fields-community studies, film
studies, cultural history, ethnic studies, and gender
studies-making this volume an interdisciplinary resource, important
for courses in Latin America and Third World cinema, Mexican
history and culture, and Chicana/o and ethnic studies.
Havana is among the world's leading cinematic locales. In films
made beyond the island as well as those created by local cineastes,
Havana is depicted as a vibrant Caribbean city. The quantity and
quality of the works representing this tropical cityscape attest to
the prominence of this film location and underscore the need for a
book dedicated to it.
"World Film Locations: Havana "situates Havana as a modern city in
prerevolutionary times, noting the architectural and cultural
shifts evident during the revolution, and comments on recent
reconfigurations of the city and its inhabitants in the wake of
global forces. Among the forty-six scene reviews chosen to show the
city in all its multifaceted glory, films such as "Our Man in
Havana, I Am Cuba, Hello Hemingway, Habana Blues" and "Chico and
Rita "are bookended by seven insightful essays. The essays look at
the history of revolutionary cinema in Cuba and consider
documentary films, from the Latin American Newsreel to avant-garde
experimental work, including the island's documentary tradition
showcasing local faces and places that have paved the way for
present-day media and audiovisual art. The essays also explore the
multifaceted film culture of the capital, the cine club movement,
historic cinemas and film venues around the city, the abundance of
film festivals such as the International Festival of New Latin
American Cinema, and film-themed cafeterias, restaurants,
bookstores, and markets.
Contemporary Cuba is opening up to the rest of the world. Its
colonial past and the Communist revolution have left a lasting
imprint on society, yet there is a tangible sense of rapid change
which is reflected in the island's national cinema. New screen
technologies and digital distribution media have supported the
efficacy and global reach of Cuban filmmakers whose work, somewhat
in lieu of adequate distribution and traditional screening
facilities in Cuba itself, is often disseminated via 'flash' (USB
memory sticks).Channelling an energetic DIY attitude through
grassroots movements and ad-hoc resourcefulness, the new filmmakers
of Cuba have inspired the editors of this book to embrace their
contagious enthusiasm through essays on authentic Cuban cinema.
Whilst the book provides a comprehensive overview of the history
behind current practices, it also moves beyond this to examine key
case studies as well as 'snapshots' of individuals working within
the industry today. Chapters celebrate the shared creativity as
well as diversity of Cuban cinema, including both productions of
the Cuban Film Institute's (ICAIC) as well as those from the
industry margins. The films discussed demonstrate a driving
cinematic force through social criticism, the emphasis of debate
and historical change through film, reassessments of gender
relations, the use of new technologies and much more.
This title presents resilient and entrepreneurial approaches to
audiovisual art in Cuba. The 1990s were a time of dramatic
transformation for Cuba. With the collapse of its Cold War
relationship with the Soviet Union, the island nation plummeted
into an era of scarcity and uncertainty known as the Special
Period, a time from which it emerged only slowly in the new
century. ""On Location in Cuba"" views these pivotal decades
through the lens of cinema.Ann Marie Stock conducted hundreds of
interviews and conversations in Cuba to examine individual artists'
lives and creative output - including film, video, and audiovisual
art. She explores the impact of the Cold War's end, the economic
crisis that ensued, and the decentralization of the state's
political, economic, and cultural apparatus. Stock focuses on what
she calls Street Filmmaking - the production of emerging
audiovisual artists who work outside the state film industry - to
examine the island's transformation and changing notions of Cuban
identity. Employing entrepreneurial approaches to producing art and
to negotiating the exigencies of globalization, this younger
generation of filmmakers offers fresh perspectives on what it means
to be Cuban in an increasingly complex and connected world.
Contemporary Cuba is opening up to the rest of the world. Its
colonial past and the Communist revolution have left a lasting
imprint on society, yet there is a tangible sense of rapid change
which is reflected in the island's national cinema. New screen
technologies and digital distribution media have supported the
efficacy and global reach of Cuban filmmakers whose work, somewhat
in lieu of adequate distribution and traditional screening
facilities in Cuba itself, is often disseminated via 'flash' (USB
memory sticks).Channelling an energetic DIY attitude through
grassroots movements and ad-hoc resourcefulness, the new filmmakers
of Cuba have inspired the editors of this book to embrace their
contagious enthusiasm through essays on authentic Cuban cinema.
Whilst the book provides a comprehensive overview of the history
behind current practices, it also moves beyond this to examine key
case studies as well as 'snapshots' of individuals working within
the industry today. Chapters celebrate the shared creativity as
well as diversity of Cuban cinema, including both productions of
the Cuban Film Institute's (ICAIC) as well as those from the
industry margins. The films discussed demonstrate a driving
cinematic force through social criticism, the emphasis of debate
and historical change through film, reassessments of gender
relations, the use of new technologies and much more.
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