Identidades sobrepostas: o caso do filme Soy Cuba
We analyze the design, production and reception of the film Soy Cuba (I am Cuba; Mikhail Kalatosov, 1964) a Cuban-Soviet co-production. Through the analysis of articles, letters and testimonials we reflect on the tensions that surrounded the making of the film, between 1961 and 1964, due to politica...
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| Formato: | Artículo |
| Lenguaje: | portugués |
| Publicado: |
2011
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| Materias: | |
| Acceso en línea: | https://dialnet.unirioja.es/servlet/oaiart?codigo=8395182 |
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| Sumario: | We analyze the design, production and reception of the film Soy Cuba (I am Cuba; Mikhail Kalatosov, 1964) a Cuban-Soviet co-production. Through the analysis of articles, letters and testimonials we reflect on the tensions that surrounded the making of the film, between 1961 and 1964, due to political events and changes in the relations between Cuba and the USSR in the context of the Cuban Missile Crisis. We discuss the participation of each of these countries in this co-production as well as narrative and aesthetic elements that contributed to the attachment of specific political interpreta-tions of the work and its condemnation, in Cuba and in the USSR, by critics and by the institutions that produced it. We also discuss the historical analysis and memory built around the film, present in the documentary Soy Cuba, The Siberian Mammoth (Vicente Ferraz, 2004). |
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