Cuban Cinema, Crisis or Transition? Negotiating a Cultural Tightrope
Bibliographic Data
| ID | 22326212 |
|---|---|
| Authors | Guy Baron (0009-0000-7765-2814, Aberystwyth University, corresponding author), Guy Baron Guy Baron |
| Year | 2018 |
| Volume | 10 |
| Issue | 1 |
| Publication date | 2018-04-01 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | International Journal of Cuban Studies (JOURNAL) |
| Journal identifiers | ISSN: 1756-3461 • E-ISSN: 1756-347X |
| Publisher | Pluto Journals (PUBLISHER • GB) |
| DOI | 10.13169/intejcubastud.10.1.0053 |
| OpenAlex | W2886554483 |
| Language | EN |
| References cited | 5 |
According to García Borrero, although recent events would appear to signal a new start in Cuban cinema, the transition towards a different type of audiovisual production has been happening for a while due to a number of factors, not least the use of new digital technologies that have democratised production and have allowed many young people to make films away from the Cuban Film Institute (ICAIC) when previously the institution had a very tight rein on both production and distribution. It is this loss of centralised control of the production process that is at the heart of the institution's problems, and this article draws on the work of Italian philosopher Antonio Gramsci to illustrate how hegemony is operating within Cuban cinema production today, ultimately arguing that what is involved today in Cuban cinema is a struggle for hegemony and a crisis of civil society
Art history · Hegemony · Institution · Media studies · Movie theater · Negotiation · Political economy · Political science · Politics · Sociology · Cinema and Media Studies · Cuban History and Society · History · Italian Fascism and Post-war Society · Law
| Citation velocity | historical |
|---|---|
| Highly cited | No |