Teachers in Cuban cinema and the resignification an old marginality. For a revision of De cierta manera (Sara Gómez, 1974)

Justo Planas

doi:10.47725/rav.028.01

Teachers in Cuban cinema and the resignification an old marginality. For a revision of De cierta manera (Sara Gómez, 1974)

Revista de Antropologia Visual ◽

10.47725/rav.028.01 ◽

2020 ◽

Vol 1 (28) ◽

pp. 1-12

Author(s):

Justo Planas

Keyword(s):

Cuban Cinema

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Cuban Cinema: Tomas Guiterrez Alea

Film Quarterly ◽

10.1525/fq.1975.29.2.04a00070 ◽

1975 ◽

Vol 29 (2) ◽

pp. 45-52

Author(s):

Margot Kernan

Keyword(s):

Cuban Cinema

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Contemporary Cuban Cinema; Nina Simone, Now

Black Camera ◽

10.2979/blackcamera.10.2.02 ◽

2019 ◽

Vol 10 (2) ◽

pp. 3

Keyword(s):

Nina Simone ◽

Cuban Cinema

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Gender in Cuban Cinema

10.3726/978-3-0353-0176-2 ◽

2011 ◽

Author(s):

Guy Baron

Keyword(s):

Cuban Cinema

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Santa y Andrés: A dossier

Studies in Spanish & Latin-American Cinemas ◽

10.1386/slac_00027_2 ◽

2020 ◽

Vol 17 (3) ◽

pp. 377-382

Author(s):

Dunja Fehimović ◽

Ruth Goldberg

Keyword(s):

Subject Matter ◽

Film Industry ◽

Cuban Revolution ◽

Original Essays ◽

Starting Point ◽

Online Archive ◽

History Of ◽

The Subject ◽

Cuban Cinema

Carlos Lechuga’s film Santa y Andrés (2016) has enjoyed worldwide acclaim as an intimate, dramatic portrayal of the unlikely friendship that develops in rural Cuba between Andrés, a gay dissident writer, and Santa, the militant citizen who has been sent to surveil him. Declared to be extreme and/or inaccurate in its historical depictions, the film was censored in Cuba and was the subject of intense controversy and public polemics surrounding its release in 2016. Debates about the film’s subject matter and its censorship extend ongoing disagreement over the role of art within the Cuban Revolution, and the changing nature of the Cuban film industry itself. This dossier brings together new scholarship on Santa y Andrés and is linked to an online archive of some of the original essays that have been written about the film by Cuban critics and filmmakers since 2016. The aim of this project is to create a starting point for researchers who wish to investigate Santa y Andrés, evaluating the film both for its contentious initial reception, and in terms of its enduring contribution to the history of Cuban cinema.

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