Salomé Aguilera Skvirsky
Biographic Data
| ID | 229250 |
|---|---|
| NAME | Salomé Aguilera Skvirsky |
| GIVEN NAMES | Salomé Aguilera |
| FAMILY NAME | Skvirsky |
| SIGNATURE | SKVIRSKY S A |
| AFFILIATIONS | University of Illinois Chicago |
| VERIFIED | No |
| TOTAL WORKS | 2 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 2 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2011 |
| LATEST PUBLICATION YEAR | 2013 |
| H-INDEX | 0 |
The postcolonial city symphony film and the 'ruins' ofSuite Habana
This paper situates the recent Cuban film Suite Habana (Pérez, 2003) in relation to the city symphony film tradition. I argue that Pérez's preoccupation with the question of individual self-realization within a socialist society constitutes an elaboration of García Espinosa's main theoretical contribution to the aesthetics and politics debate. That Pérez turns to the tradition of the city symphony film – the first film genre to systematically tre…
Quilombo and Utopia: The Aesthetic of Labor in Linduarte Noronha'sAruanda(1960)
This essay focuses on one of the privileged spaces of the Cinema Novo filmscape: the quilombo, or maroon settlement. Though largely neglected by film scholars, the quilombo is an abiding theme for Brazilian political filmmakers. It is the symbolic crossroads where a utopian strain of political thinking converges with a central preoccupation of Brazilian national identity – the question of Brazil's racial character. This essay examines the classic…
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Quilombo and Utopia: The Aesthetic of Labor in Linduarte Noronha'sAruanda(1960)
This essay focuses on one of the privileged spaces of the Cinema Novo filmscape: the quilombo, or maroon settlement. Though largely neglected by film scholars, the quilombo is an abiding theme for Brazilian political filmmakers. It is the symbolic crossroads where a utopian strain of political thinking converges with a central preoccupation of Brazilian national identity – the question of Brazil's racial character. This essay examines the classic…
The postcolonial city symphony film and the 'ruins' ofSuite Habana
This paper situates the recent Cuban film Suite Habana (Pérez, 2003) in relation to the city symphony film tradition. I argue that Pérez's preoccupation with the question of individual self-realization within a socialist society constitutes an elaboration of García Espinosa's main theoretical contribution to the aesthetics and politics debate. That Pérez turns to the tradition of the city symphony film – the first film genre to systematically tre…
Art (2 works) · Art history (2 works) · Cinema and Media Studies (2 works) · Sociology (2 works) · Aesthetics (1 works) · Arts and Performance Studies (1 works) · Computer Science (1 works) · Cuban History and Society (1 works) · Law (1 works) · Literature (1 works)