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Castro's rise to power
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Introduction Santiago Alvarez is honored in the world as the pioneer of revolutionary Cuban filmmaker as well as his documentary masterpieces also contribute a remarkable achievement in Latin America films. Santiago was given birth on March 8, 1919, who is the son of an immigrant Spanish family in Cuba. He was involved in learning politics at his very early age since his father arrested as a result of anarchistic activity. Subsequently, at the age of 15, Santiago began to work as a printer’s apprentice and then he became a strike planner speedily after he participating in the workers’ union. At the end of 1930s, during the American Great Depression, Santiago travelled to United States and then found a job as coal mineworker and cleaner. Additionally, he was admitted as a student in Columbia University in New York City. After Santiago returned to Cuba, he devoted himself into a covert struggle against Batista’s dictatorship, which made him arrested for several times. At the end of 1950s, Santiago was employed at the ICAIC (Instituto Cubano del Arte e Industria Cinematográficos) as the director of newsreel department, in which he created a battery of masterpieces of documentary with his ‘dramatic method’ -montage. Following Sergei Eisenstein’s definition to the mechanism:” Montage is an idea that arises from the collision of independent shots-shots even opposite to one another” (Sergei, 1957), he harmonically manipulate sounds and images in most of his films, which makes Santiago was also honored as one of the most outstanding of all montagists with a series of acclaimed, short, exploratory, rhetorical documentaries in the vigorous decade of 1960 (Peter, 2007). The rough tribulation in Santiago’s early life and the misery of... ... middle of paper ... ...E2%80%99-remixed-in-l-b-j [Accessed: 5 Dec 2013]. Macdonald, K. and Cousins, M. 1996. Imagining reality. London: Faber and Faber. Martin, M. 1997. New Latin American cinema. Detroit: Wayne State University Press. Rist, P. 2007. Agit-prop Cuban Style: Master Montagist Santiago Álvarez. Offscreen, 11 (3), Available at: http://www.offscreen.com/index.php/pages/essays/agit_prop_cuban_style/ [Accessed: 2 Dec 2013]. Wilkerson, T. 2006. Cuba's Santiago Alvarez, cinematographer and revolutionary. [e-book] Available through: PSLweb.org http://www2.pslweb.org/site/News2?page=NewsArticle&id=5103 [Accessed: 5 Dec 2013]. Michael Atkinson 2010, He Who Hits First, Hits Twice: The Urgent Cinema of Santiago Alvarez, Tower Publishing Services, LONDON. Livio Jacob 1989, ""Show Us Life": Toward a History and Aesthetics of the Committed Documentary", Griffithiana, , no. 35/36, pp. 175.
It is an animated documentary film released in 2011 that displays the harsh reality of the Colombian youth narrated by children themselves (ages 8-13). The directors use only interviews and drawings produced by children that have suffered by the violence of the armed conflict. The end result is an innovative animation movie that allows to look at the Colombian current reality from a child`s point of view: full of innocence and sweetness, not ready for the violence that surrounds them.
Crassweller, Robert D. Trujillo: The life and times of a Caribbean dictator. New York: Macmillan.1966.
Although it is desirable to incorporate personal experiences of others to get a feel of the encounters that occurred to the typical or atypical individual within the Chicano movement, this does not entirely mean that the filmmakers left out those who studied the history of it. Historian Mario T. Garcia was a prominent addition in contributing to the historical experiences within the movement and brings in credibility. The concept of utilizing Chicanos who endured the reign of oppression and discussed their involvements to the impartiality efforts was a thrilling and clever one, there was still a need of a backbone in the factual side of it. By introducing an essence of experience, it generates a personal and emotional aspect in the documentary that can be unfavorable and stray from the informative attitude of a documentary. Having Garcia apart of the documentary grounds this enlightening dimension that insights as preventative measure which is an adept move on behalf of directors Luis Ortiz and Antonio
With assertive shouts and short tempers, the prominent character, Ricardo, is characterized as a feisty townsman, doing nothing except trying to protect his town and its members from the judgments of the western world. For example, the characterization of the “‘…quaint’” man is exemplified through the simplicity of his life and the fact that he is “‘…employed’” and is full of knowledge, not a “‘cow in the forest’” (55, 29, 32). Ricardo desperately wants to establish the notion that he is not a heartless, feebleminded man, only an indigent, simple man striving to protect his friends and family from the criticisms of callous cultures. Incessantly Ricardo attempts to make it clear to the photographer the irritation elicited by his prese...
Camera Lucida was Roland Barthes’ last written piece, published posthumously in 1980. This book deals with the topic of photography and the death of Barthes’ mother in 1977. The role of photography is questioned; he asks what about photography makes it a valid media? We read about the operator (the photographer), spectrum (the subject) and spectator (the viewer), also about the studium (what we see in the photograph) and the punctum (the unclassifiable, the thing that makes the photograph important to the viewer). According to Barthes the photograph is an adventure for the viewer, but it is ultimately death, the recording of something that will be dead after the picture is taken. This idea is the main focus of Barthes’ writing, the photograph “that-has-been”, in Latin “interfuit: what I see has been here, in this place which extends between infinity and the subject; it has been here, and yet immediately separated; it has been absolutely, irref...
Perez L, 2nd ed, 1995, Cuba : between reform and revolution, Oxford University Press, New York
Jacobs, Lewis. “Refinements in Technique.” The Rise of the American Film. New York: Teachers College Press, 1974. 433-452. Print.
Small, Pauline. (2005) New Cinemas: journal of Contemporary Film Volume 3, Queen Mary, University of London
...re, Robin D, (2006) Music and Revolution: Cultural Change in Socialist Cuba. University of California Press: New York
The Cuban Revolution is one of the most important and influential events to occur in Latin American history. Between the years 1953 and 1959, Fidel Castro, a young politician and activist at the time, led an armed guerrilla rebellion against the authoritarian government in Cuba. While much of the war was fought using guns and soldiers, a majority of the revolution was fought not firing a single shot. Fidel Castro’s “other” weapon in the revolution was propaganda. The combination of bullets and propaganda proved to be extremely successful for Fidel and his fellow rebel comrades. Castro’s revolutionary propaganda “machine” is considered to be one of the main factors that lead to his victory and even today, aspects of his “machine” can be seen
Oscar Wild once said, “The truth is rarely pure and never simple” and he is right. But no matter what the outcome is, or how complex the truth is, we will always strive for the truth. The concept of truth is no stranger to film documentaries, and one filmmaker that certainty was aware of that was Dziga Vertov. During the 1920’s Vertov created a newsreel series to promote the concept of ‘Kinopravda” which translated to English mean “Film truth.” Unfortunately, Vertov was ahead of his time, and this concept disappeared along the filmmakers’ path. It wasn’t until the 1960’s that other filmmakers around the world once again recognized the importance of the truth. Two movements with the purpose of revealing the truth of life, emerge in different parts of the world, Direct Cinema in North America and Cinema Vérité in France. Although, both had the same purpose, their approaches towards getting the truth make them completely different. Cinema Vérité’s approach gave the filmmakers a chance to manipulate and distort reality by participating and observing at the same time, while Direct Cinemas approach was strictly observational, and there is no better way to find out the truth than observing without interfering.
Cinema studies: the key concepts (3rd ed.). London: Routledge. 2007. Lacey, N. (2005). The 'Standard'. Film Language.
Montage is from the beginning of the twenties characterized as a process of synthesis, building something new and in terms of the physical planes also something quite simple. Most montage’s films were created as a dialectical process, where initially from a two meanings of consecutive shots form a third meaning.
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.