Browse Items (94 total)
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¿Dónde está Sara Gómez?
Sara Gomez was a 'searcher.' My first encounter with her was watching her only fiction film and it blew my mind. She was the first Afro-Cuban woman filmmaker to have shot a fiction film and, more than thirty years later, the film (as well as her documentaries) remains so vibrant, so contemporary, and so touching. She searched new territories, brought people together from opposite worlds, and created new landscapes. And she died like a drama character, in the early seventies at age thirty-one, leaving behind a couple of brilliant films, two husbands, and three children; the ones who knew her, regret her departure. She left no apparent trail in the new filmmakers generation, but it’s as if her ghost is still around, sometimes in the most unexpected places. This film tells three love stories: 1) of Sara and her husband Germinal (who was also one of the finest Latin-American sound people), 2) of Sara and her family, and 3) of Sara and cinema, which she expanded so that Afro-Cuban culture is adequately represented. (Culture Unplugged - watch complete film here) -
1912, Voces para un silencio
1912, VOCES PARA UN SILENCIO es el titulo general para el proyecto de tres capitulos dedicado a la historia del Partido de los Independientes de Color (PIC). Una aproximacion necesaria a esta pagina tan poco conocida de la historia de CUBA. Se trata de un material documental , didactico, cuyos recursos principales son las voces de los historiadores y figuras de la cultura cubana que de alguna manera se han ocupado del tema y expresan sus valoraciones. Pero este capitulo es una especie de introduccion al tema que pretende cubrir algunos antecedentes en la historia de lucha de resistencia de los afrocubanos. Un recorrido necesario para ir paso a paso en la trayectoria del movimiento negro en cuba desde la epoca colonial, las luchas por la independencia y la situacion de los negros cubanos una vez que la Isla de Cuba logro su independencia en 1902. Aparece la referencia de lideres negros muy importantes desde el siglo XIX como son los casos de Juan Gualberto Gomez, Martin Morua Delgado. Se habla de la importancia de la figura de Antonio Maceo, de Quintin Banderas. -
Africa mía
In the midst of the Cold War, ten young promising musicians from Mali are sent to Cuba to study music and strengthen cultural links between the two socialist countries. Combining Malian and Afro-Cuban influences, they develop a revolutionary new sound and become the iconic ensemble ‘Las Maravillas de Mali’. New Year’s Eve 2000. Richard Minier, a French music producer meets a former member of the band in Bamako and decides to bring the band back together. (AfricanFilm.com) -
Al otro lado
Al otro lado estructura tres historias paralelas en torno a la misma temática y con un desarrollo complementario. Estas historias reflexionan en torno a la condición humana, el dolor de la ausencia y la pérdida de la inocencia. Los protagonistas son niños de países, culturas y realidades diferentes, pero que comparten vínculos emocionales; ante la necesidad de restablecer el núcleo familiar, cada uno de ellos inicia su propio viaje, persiguiendo el sueño por cruzar "al otro lado" con la ilusión de encontrar a la figura paterna. (Cineteca Nacional México)Tags Youth / La juventud -
Alicia en el Pueblo de las Maravillas
A satire about the life of the Cuban people. Alicia, a culture instructor, is sent to a small town "Maravillas", which is itself an exaggerated, but very ingenious reflection of the real Cuba. The adventures that she has there are almost as crazy and senseless as the ones lived by the other Alice (in Wonderland), reflecting the indoctrination, coercion, absolutims, and many other everyday problems in Cuban society. (IMDB) -
Alicia en el Pueblo de las Maravillas
A satire about the life of the Cuban people. Alicia, a culture instructor, is sent to a small town "Maravillas", which is itself an exaggerated, but very ingenious reflection of the real Cuba. The adventures that she has there are almost as crazy and senseless as the ones lived by the other Alice (in Wonderland), reflecting the indoctrination, coercion, absolutims, and many other everyday problems in Cuban society. (IMDB) -
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Bakosó: AfroBeats of Cuba
What does "Está Rico" by Marc Anthony, Will Smith & Bad Bunny have in common with "Made For Now" by Janet Jackson x Daddy Yankee? They both high-jacked AfroBeats and did not give the genre's origin props. Bakosó is a film that does the opposite, following DJ Jigüe to his hometown of Santiago de Cuba to find inspiration from the new sounds. He finds Afrobeats has helped create a new genre called Bakosó, which itself is beautiful proof that the exchange between Cuba and Africa did not end with the Transatlantic slave trade. Through stunning visuals and a score created by the founders of the genre, the film shows the technology, culture and landscape that shape this African-Caribbean fusion. (WORLD Channel) -
Balseros
En el verano del 94, un equipo de reporteros de Televisión de Cataluña filmó y entrevistó a siete cubanos y a sus familias durante los días en que preparaban la arriesgada aventura de lanzarse al mar para así poder alcanzar la costa de los Estados Unidos, huyendo de las dificultades económicas que asolaban su país. http://cinematecacubana.com/ -
Buscándote Havana
El documental intenta abordar el fenómeno migratorio interno en Cuba, donde, a pesar de las estrictas regulaciones que lo limitan, cientos de personas se encuentran en precarias condiciones de vida; fuera de los programas de subsidios del gobierno y viviendo en el margen del delito. Una mirada a una Cuba no muy conocida, pero no menos conmovedora, una mirada a las necesidades, sueños y aspiraciones de su gente.
(https://www.youtube.com/watch?v=t2-IvT0ORnw) -
Cartas del Parque
La historia tiene lugar en la ciudad de Matanzas, cien kilómetros al oeste de La Habana, en 1913. Dos jóvenes enamorados, cada uno por su lado y sin que el otro lo sepa, solicitan los servicios de un escribano para comunicarse a través de las cartas que este redacta. Poco a poco, los sentimientos del escribano van a imponerse por encima de su voluntad y revelarán una verdad eterna: al amor no se le puede hacer trampas; es el amor quien domina en este juego. (Ecured.cu) -
Cine contemporáneo latinoamericano
Using methods that both embrace and critique the study of national cinemas, this course provides a survey of cinema from across the Latin American region, concentrating on the changing tropes of contemporary cinema and including screenings as part of the AFI Latin American Film Festival. -
Cine hispano
“Las películas son un mundo de fragmentos”, propuso una vez Jean-Luc Godard, el director de la Nouvelle Vague francesa. Estos fragmentos, trozos audiovisuales de la realidad, captan nuestra imaginación. El cine es un sitio interacción social, de entretenimiento, de aburrimiento, de placer estético, de crítica cultural, de muchas cosas. Nos hacen pensar de manera diferente. Confirman y, aún mejor, desafían nuestras visiones del mundo. Y, a veces, forman parte de quienes somos. En este curso, estudiaremos (y de manera fragmentaria) el texto y el contexto de algunos de estos mundos de fragmentos. A través del análisis de películas de Argentina, Colombia, Cuba, España, Estados Unidos, México, Paraguay y Perú, se examinarán géneros cinematográficos, prácticas estéticas y conceptos sociológicos y políticos (como la clase socio-económica, el género, la ideología, la raza y la sexualidad). -
Cine latinoamericano: re-definiendo identidades siglo XXI
Un estudio del cine latinoamericano y su desarrollo temático y técnico con un énfasis en la producción contemporánea. -
Cine y revolución en América Latina: Política, cultura e historia de las imágenes en movimiento
La intención del curso es hacer un recorrido por la historia de América Latina y por su producción cinematográfica, teniendo como eje rector las diversas maneras en que se ha expresado la idea de revolución en el cine latinoamericano, tanto en términos argumentales, como en cuestiones estéticas y técnicas, enfatizando su relación con lo social. En el curso se abordarán teorías y metodologías que problematizarán el cine como fuente para la historia cultural y política, tratado de rescatar la incipiente teorización latinoamericana sobre el tema. Así mismo, se emprenderá un recorrido por el cine social latinoamericano y sus distintas corrientes y manifestaciones hasta la década de los años ochenta.
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Conducta impropia
Este documental memorable de Néstor Almendros, trata sobre a persecución de intelectuales y gays desde principios de la Revolución Cubana hasta los años 80. Este es un documento que horroriza y saca a relucir el verdadero trato inhumano de Fidel Castro y de los campos de concentración para los gays. (Kimbara Cine Cubano) -
Confesión a Laura
The action is situated in Colombia on April 9, 1948, date in which took place the famous "Bogotazo". It is a story of love frustrated by political circumstances. Laura, a spinster schoolteacher, lives to Josefina and Santiago, public employee. The three characters will be besieged by 24 hours, targeted by snipers, will be forced to show such which are or they would have liked to be. (IMDB) -
Confesión a Laura
The action is situated in Colombia on April 9, 1948, date in which took place the famous "Bogotazo". It is a story of love frustrated by political circumstances. Laura, a spinster schoolteacher, lives to Josefina and Santiago, public employee. The three characters will be besieged by 24 hours, targeted by snipers, will be forced to show such which are or they would have liked to be. (IMDB) -
Contemporary Spanish and Latin American Cinema
This interdisciplinary course seeks to review and analyze the complexity of contemporary society through the study of Latin American and Spanish film production. We will explore topics that relates to issues of ethnicity, class representation, immigration and exile, dictatorship, experiences of war and violence, globalization, gender, as well as sexual and racial identities, among other themes. The course has a transatlantic approach covering different genres, styles, and filmmakers from Mexico, Cuba, Spain, Argentina, Chile, Brazil, Colombia, and Uruguay. Class discussions in Forum, activities, presentations, reflections, and a final multimodal research project will help to improve and expand students’ analytical skills as well as their Spanish language proficiency. -
Cuba baila
Los deseos y esfuerzos de una familia de muy pocos ingresos, para realizar el sueño de celebrar los quince años de su hija a un nivel mayor que el permitido por su posición económica llevan al padre al punto de la locura. (Kimbara Cine Cubano) -
Cuba in Film: Capturing a Revolution
To study the Cuban Revolution is to willingly enter into a battlefield of opinions, politics, and years of trauma. For some it is the single-most “successful” revolution in Latin America, while for others it is an example of dictatorship and a consistent denial of human rights. While the revolution is highly politicized and is often covered with pre-determined notions of good and evil, right and wrong, we will work to go beyond this binary to analyze Cuba through its cinema. In our study of Cuba, we will analyze the film representations (Cuban, US, Spanish, and those from the extended diaspora) of the Cuban Revolution to become aware of how these representations of the Cuban revolution are created and reinforce or challenge our notions of Cuba. Through a close analysis of the film industry, the use of cinema, narrative tools, soundtracks, camera angles, camera focus, character development, funding, and the cultural industry we will critically research how each of these aspects contribute to the versions of Cuba that we come in contact with in large and small screens. We will learn to recognize how the different versions of Cuba are created, challenged, or questioned. We will analyze how film and audiovisual language continues to reflect on the complexities of Cuban society, and how social media and technology is now challenging the limits of Cuban film, and possibly of the Revolution itself. -
Cuban Film
This course examines contemporary Cuban cultural production with special emphasis on the audiovisual as a powerful medium for learning about language and culture. The class will explore topics spanning the postrevolutionary period to the present that relate to issues of gender, race, class, civil society, politics, migration, memory, trauma, diaspora, and identity. We will seek to understand contemporary Cuba by analyzing critically different film genres: short and feature length films, documentaries and web series. The audiovisual genre functions as an important source for building communication skills because it captures authentic language, llustrates language varieties and will allow students to evaluate changes in social and political representation of the island in the 21st century. We will discuss new modes of production and distribution and investigate the changing structural, technological, and material conditions that have sustained Cuban film and media. An engaging and interdisciplinary list of readings, drawn from audiovisual criticism, history and film theory will facilitate and contribute to our study. -
Cultura Hispanoamericana
"El curso se enfoca en procesos de cambio cultural en comunidades hispanohablantes de las Américas. Las metodologías empleadas incluyen la histórica (a base de la organización en forma narrativa de evidencia documentada), la transcultural (a base del estudio de las interacciones dinámicas entre perspectivas culturales) y la comunitaria (a base de experiencias vitales de participación comunitaria). " -
De cierta manera
Conflicts between old habits that perpetuate marginalization and a new moral era, in the context of the social tranformation that took place in Cuba beginning with the victory of the 1959 Revolution. The construction of the Miraflores neighborhood in 1962 by its residents: the conflicts, contradictions and changes seen from a personal, individual perspective. The film is based on true events and combines documentary wth fiction. (Translation by Jeimy Hernandez) -
De generación
Un grupo de jóvenes cubanos analizan temas comunes a su época, expresando sus diferencias con el proyecto político creado por sus padres. (Film's official website) -
Después del cine latinoamericano: Tradición y renovación
Un estudio del cine latinoamericano y su desarrollo temático y técnico con un énfasis en la producción contemporánea. -
Diálogo con mi abuela
Un audiovisual donde se mezcla el documental y la ficción. Una foto de los años 20 es la imagen de la evocación espiritual. El Grupo Vocal Baobab interpreta los cantos tradicionales del espiritismo cubano. La voz original de la abuela Inocencia y el conjunto de fotos familiares de la realizadora Gloria Rolando, forman parte del relato cuyo objetivo es darle valor, en la historia social de Cuba, a esos pequeños y grandes pasajes de la vida cotidiana de una familia negra. (CubaCine - Portal del ICAIC) -
Documentary as Civic Engagement in Latin American and Latinx Film
In this course we examine the documentary genre in film and its participation in the public sphere as filmmakers and their audiences demand or create justice in pursuit of participation in Latin America and among Latinx communities. We see how a range of documentarians and their subjects use film to not only hold their communities and governments accountable, but also surface buried stories, and serve as alternative public platforms to reframe memory. We see how, in some communities, through the use of small screens and phone cameras, people write themselves into a more plural and inclusive history. We will examine the theoretical frameworks and documentaries coming from Latin America and Latinx communities on the topic of documentary as justice, while analyzing key documentaries that have used the genre to reveal and remember buried stories. This course and the documentaries analyzed will be in Spanish and as such we recognize our privilege interacting with these materials as Spanish-speakers and students of Spanish as another level of engagement, activism, and community.
As we examine the voices captured in these texts celebrating, narrating, criticizing, and challenging terms such as the limits of the documentary genre, democracy, nation, sovereignty, racism and gender, we too will continue to develop our own voices using the written word scaffolding our writing through a low-stakes and higher-stakes on-going practice. We will use writing throughout the course to think through texts, shape our own voices in Spanish as well as respond to each other to foster a supportive community of thinkers, writers, and Spanish-speakers.
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El acompañante
Daniel Guerrero (interpretado por Armando Miguel) tiene sida y está interno en el sanatorio de Los Cocos al sur de La Habana. El boxeador Horacio Romero (Yotuel Romero), sancionado por dopaje, es su acompañante, quien le vigilará noche y día para evitar la propagación del virus. El acompañante, la última película del cineasta cubano Pavel Giroud, nominada para representar a Cuba en los Oscar y en los Goya, recrea las vivencias de cubanos contagiados de VIH que fueron encerrados en ese centro en los años ochenta. Las autoridades cubanas cuidaron allí a los enfermos privados de libertad y así trataron de impedir la expansión del virus. “La película termina siendo una metáfora de lo que es Cuba porque Los Cocos es como una isla de la que no puedes salir fácilmente y en la que digamos tienes cubiertas ciertas necesidades básicas”, explica Giroud en una entrevista. (El País) -
El impulso documental en el cine latinoamericano
Este curso pretende ofrecerles a los estudiantes una introducción al cine latinoamericano al trazar su trayectoria histórica desde el cine mudo al presente, al examinar diferentes contextos y modos de producción, y al analizar diferentes tendencias estéticas. A la vez, se propone darles una introducción al análisis fílmico al familiarizarles con los términos especializados y con varias líneas críticas que han surgido del campo de los estudios fílmicos. Este trimestre nos enfocaremos en el documental y, más ampliamente, en el “impulso documental” el cual se hace evidente en películas que se suelen caracterizar como de ficción. -
El Mégano
Este documental está considerado como antecedente del Cine Cubano y uno de los que da origen al Movimiento del Nuevo Cine Latinoamericano. Es una denuncia a las infrahumanas condiciones de vida y trabajo de los carboneros de la Ciénaga de Zapata en Cuba antes de 1959. Desde el punto de vista temático, está considerado como el antecedente más importante del cine cubano de la Revolución realizado posteriormente por el Instituto Cubano del Arte e Industria Cinematográficos (ICAIC). La película es un documento importante para el cine nacional, tanto por sus méritos artísticos como por su valor social que llevó al régimen de Batista a secuestrarla por “subversiva y peligrosa”. -
El otro Francisco
Based on the novel Francisco by Anselmo Suárez y Romero, "The Other Francisco" is a socio-economic analysis of slavery and class struggle through the retelling of the original novel. The film contrasts the romantic conceptions of plantation life found in Suárez Romero's novel with a realistic expose of the actual historical conditions of slavery throughout the Americas. It offers a critical analysis of the novel, showing how the author's social background led to his use of particular dramatic structures to convey his liberal, humanitarian viewpoint. (IMDB) -
El techo
En el centro de La Habana, sobre una azotea, tres jóvenes amigos se reúnen día a día para contarse historias y sueños, a tratar de que el tiempo pase sin notarse. En medio de su aburrimiento, sin apenas recursos y soñando la prosperidad, deciden armar un negocio propio. El costo de este sueño, al fin, los conducirá a la madurez personal no exenta de cierta felicidad. (Portal del cine y audiovisual Latinoamericano y caribeño) -
En la puta vida
Montevideo, Uruguay. In this comedic drama, Elisa, 27, dreams of opening her own hairdressing salon in one of the rich districts of the Uruguayan capital. A bit of a rebel, one day Elisa moves out of her mother's house with her two children and breaks up with Garcia, her boss and lover who has infuriated her by not wanting to get married. So, in the space of twenty-four hours, Elisa finds herself without a roof over her head, without a man, without a job and without money. Her best friend Loulou finds her a job - in the brothel run by Dona Jacqueline. And without really being aware of it, Elisa slides into prostitution, which leads her to Barcelona. She falls in love, she is exploited, she gets involved in transvestite gang wars, and meanwhile just dreams of earning enough money for her little beauty salon back home. (IMDB) -
Estorvo
O pesadelo existencialista de um personagem anônimo que vaga por uma grande cidade de hoje. Depois de uma noite mal dormida, o protagonista acorda com a campainha da porta tocando insistentemente. Pelo olho mágico,vê um desconhecido de terno e gravata, barba e cabelos longos, que lhe lembra alguém que não consegue identificar. Não sabe por que aquele homem está ali nem o que pode querer, mas tem uma certeza imediata: ele representa uma ameaça para sua vida. Veste-se às pressas, aproveita uma distração do visitante e logra escapar. Mas não tem a menor dúvida de que o desconhecido se lançou no seu encalço e que o pesadelo apenas começou. E assim se inicia uma alucinante perseguição através da cidade. Acossado, desconfiado de tudo e de todos, afrontando a violência cotidiana, o seu próprio passado, os seus fantasmas, revê amigos que há muito não encontrava, tenta o contato com uma mãe muda e ausente, busca proteção da irmã com quem sempre manteve uma relação ambígua, procura apoio da ex-mulher e vai se envolvendo numa trama de suspense crescente com uma série de personagens extremados: uma ninfomaníaca, motoqueiros, marginais, plantadores de maconha, contrabandistas, policiais corruptos, gente à deriva... É uma fuga sem destino que penetra cada vez mais fundo no seu próprio mundo, traindo, roubando, se degradando, buscando descobrir o enigma da sua caminhada, compreendendo do que foge, quem o persegue, para onde vai. A resposta vem no fio de uma faca. (Cinemateca Brasileira) -
Fresa y chocolate
Diego, a cultivated, homosexual and skeptical young man, falls in love with a young heterosexual communist full of prejudices and doctrinal ideas. First come rejection and suspicion, but also fascination. Fresa y chocolate is a coming-of-age story, told through the development of a great friendship which overcomes incomprehension and intolerance. (IMDB) -
Fresa y chocolate
Diego, a cultivated, homosexual and skeptical young man, falls in love with a young heterosexual communist full of prejudices and doctrinal ideas. First come rejection and suspicion, but also fascination. Fresa y chocolate is a coming-of-age story, told through the development of a great friendship which overcomes incomprehension and intolerance. (IMDB) -
Guantanamera
Un atípico cortejo fúnebre y un camión cubren el mismo recorrido, aunque con muy diferentes cometidos, el cortejo, compuesto por un funcionario, su esposa Gina y un anciano, debe cumplir un ahorrativo plan estatal de traslado de difuntos. El camión, conducido por Mariano realiza su recorrido habitual. Lo que comenzó siendo un cruce fortuito, termina convirtiéndose en un encuentro continuo. Mariano y Gina coinciden y se reconocen: Gina fue profesora en la universidad donde Mariano estudió y un amor frustrado para éste. La caravana fúnebre avanza. Sus tropiezos con el camión y un sinfin de divertidas peripecias van uniendo poco a poco a Gina y Mariano hasta conseguir que ambos tomen una decisión. -
Habana Blues
Ruy y Tito son amigos y sueñan con triunfar como músicos. Justo cuando preparan su primer concierto, unos productores, les proponen grabar en España. La oferta les obligará a replantearse sus afectos, sobre todo a Ruy, que vive con a madre de sus dos hijos, y pondrá incluso a prueba su amistad con Tito. (Kimbara Cine Cubano) -
Havanyork
El discurso rebelde y contestatario de los músicos cubanos y norteamericanos nos invita a reflexionar sobre la contracultura y las realidades paralelas que nacen en todo sistema de gobierno. Los sueños, la familia, el barrio, la ciudad, la vida, la guerra y la política son algunos de los temas que permean su música y nutren nuestra historia. Desde los barrios de La Habana y Nueva York, la cámara retrata con una visión cómplice las reflexiones que los músicos de ambas ciudades han elaborado con relación a sus raíces, a la evolución del tambor y al alma del Hip Hop. (Festival Internacional de Cine de Morelia) -
Hello Hemingway
A young girl's academic asperation conflict with her family's struggle against poverty. Both these aspects are made all the more potent by the clear view they have of Ernest Hemingway's mansion in their home town just outside Havana. (Film Affinity US) -
Hispanic Film
This course examines film by Spanish and Latin American directors. Students study films as an independent genre using specific structural forms as the means of analysis (close-up, soundtrack, frame, etc.). Students will formulate interpretations that move between the formal, technical composition of films and the concrete socio-historic and cultural reality to which each film refers and shapes. Course activities include screening of films, discussion of articles that focus on literary theory and film analysis, and writing short papers. -
Hispanic Film (*modified for remote learning, fall 2020)
In our Hispanic film course we examine diverse cinemas made in the region and how Latin American filmmakers represent, reject, reconstruct, maintain or challenge their realities. We look at how films are made, how they are funded, and how films reach audiences to question which films we see, and which ones are hidden from our view. The most accessible films available on major US platforms such as Netflix and Hulu do not begin to represent the diversity of world cinema, nor that of even US cinema.
In this course we examine works from the region to see how artists use cinema to challenge, break with, or redefine their realities sharing complexities beyond the limited roles of Latin Americans in Hollywood film. In these examples of more nuanced representations of Latin Americans, we see the crucial importance of self-representation, and diversity in front of and behind the camera.
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Indigenous & Afro-descendant Representation in Contemporary Latin American Film
This course serves as an introduction to film analysis by studying Latin American cinema, with a focus on Afro-descendant and indigenous communities. We will analyze the representation of indigenous people in contemporary Latin American cinema, and highlight the contributions of indigenous media to current discussions about indigeneity and decolonization. In addition, we will examine the cinematic representa-tion of Afro-Latin Americans and explore the cultural legacy of the African diaspora through Latin American film. The course will highlight important social and political issues concerning historically marginalized voices in Latin America, as well as how cinematography, as an artistic medium, grapples with questions of representation, identity, memory, and activism. Movies will be screened in Spanish (in some cases, Portuguese and indigenous languages, with Spanish subtitles). Class conducted in Spanish.
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Infancia clandestina
Juan está clandestino. Al igual que su mamá, que su papá y que su adorado tío Beto, fuera de su casa tiene otro nombre. Juan, en la escuela, se llama Ernesto. Y conoce a María, que tiene un solo nombre. Basada en hechos verdaderos, en la Argentina de 1979, esta película es "una de amor".
(Cinenacional.com) -
Inmigración en el cine
This course is designed for students taking an intermediate to advanced Spanish course with focus on Hispanic culture and language through film. Undoubtedly, films are a rich source of
meaningful cultural information and students can come to understand much about a country’s culture through the discussion and analysis of films. The combination of sound, image and language provided by the films engages and stimulates students’ senses and cognitive faculties simultaneously. Films will be selected from a variety of Hispanic countries, emphasizing the connection between language, culture, society and visual representation. The main topic or
theme of this course will be the representation of ‘migration’ in the Hispanic Contemporary Films: women, slavery, trafficking, displacement and groups of people traveling from Spain to
Latin America, from Africa to Spain and other itineraries. -
Introduction to Spanish-Language Film
This course is an introduction to appreciating and understanding film art as it relates to the rich and diverse cinema history of Latin America. Conducted entirely in Spanish, the course focuses on students’ acquisition of knowledge on the material and principles of film form, or the basic elements of film narrative, mise-en-scène, editing, and sound. Students will be asked to put their new knowledge into practice by watching closely and analyzing major films produced across the Latin American regions in the 20th and 21st centuries, from Argentina to Chile to Bolivia to Chile to Brazil to Cuba to Mexico. A variety of film genres will be enjoyed, including the documentary, the musical, the comedy, the thriller, the coming-of-age movie and the road film. The “New Latin American Cinema” or the socially-engaged film of the 1960s and 1970s will also receive attention in the course. In addition to studying film as an art form we will also tackle prominent issues in contemporary film studies, including film theory, the history of audiences and the role of cinema as a form of mass media. -
Invisible color
This latest documentary by the Dean of Afro-Cuban Cinema Sergio Giral investigates the black Cuban exile community in South Florida, since the first wave of political refugees in the 1959 revolutionary aftermath, to today. It tracks its presence throughout the region, and highlights its contribution to Miami’s civic culture through testimonies and visual documentation. (African Diaspora International Film Festival) -
Juan de los muertos
Juan tiene cuarenta años, de los cuales la mayoría los ha dedicado a vivir en Cuba sin hacer absolutamente nada. Ese es su modo de vida, y está dispuesto a defenderlo a cualquier precio, acompañado de su socio y compinche, Lázaro, que es igual de vago pero el doble de tonto. El único vínculo emocional de Juan es con su hija, Camila, una joven y bella muchacha que no quiere saber nada de su padre porque lo único que hace es meterse en problemas. De pronto comienzan a suceder una serie de extraños acontecimientos: la gente se vuelve violenta y se atacan unos a otros. Después da algunas dudas Juan llega a la conclusión de que se trata de zombies y decide que la mejor manera de enfrentar la situación es prosperar con ella y comienza un negocio con el slogan: Juan de los Muertos, Matamos a sus seres queridos. http://cinematecacubana.com/ -
Kafe Negro
Kafe Negro tells the story of migrations around a small grain that became the second most important raw material on the global market. This film tells the story of the waves of migration of Haitian workers who, over time, profoundly transformed the culture and demography of Cuba and developed coffee growing on the island. (AfricanFilm.com)