MARC Record from marc_columbia

LEADER: 03503fam a22003734a 4500
001 3365039
005 20221020053640.0
008 010927s2002 nyu b 001 0 eng
010 $a 2001048688
020 $a0415936640
035 $a(OCoLC)48098436
035 $a(OCoLC)ocm48098436
035 $9AVC6627CU
035 $a(NNC)3365039
035 $a3365039
040 $aDLC$cDLC$dDLC$dOrLoB-B
042 $apcc
050 00 $aPN1998.3.G874$bS37 2002
082 00 $a791.43/0233/092$221
100 1 $aSchroeder, Paul A.
245 10 $aTomás Gutiérrez Alea :$bthe dialectics of a filmmaker /$cPaul A. Schroeder.
260 $aNew York :$bRoutledge,$c2002.
300 $axvi, 175 pages ;$c24 cm.
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
490 1 $aLatin American studies
504 $aIncludes bibliographical references (p. 143-170) and index.
505 00 $gCh. 1.$tContext.$tTomas Gutierrez Alea: A Sketch.$tThe Immediate Context: ICAIC and the Cuban Revolution.$tThe Broad Context: New Latin American Cinema --$gCh. 2.$tThe Early Years: Idealism and Experimentation.$tStories of the Revolution.$tThe Twelve Chairs.$tCumbite.$tDeath of a Bureaucrat --$gCh. 3.$tMemories of Underdevelopment: The Dialectics of Identification and Alienation.$tGenesis and Reception.$tDescription of the Film.$tThe Viewer's Dialectic.$tFilm as Tragedy.$tPostmodern Postscript --$gCh. 4.$tThe Search for Cuba's "Intra-Historia"$tA Cuban Fight against Demons.$tThe Last Supper: Marxism Meets Christianity.$tThe Survivors --$gCh. 5.$tUp to a Certain Point: Turning the Lens on Himself --$gCh. 6.$tMelodrama and the Crisis of the Revolution.$tLetters from the Park.$tStrawberry and Chocolate: Homosexuality, Marxism-Leninism, and Exile.$tGuantanamera --$gCh. 7.$tConclusions.$tThe Intellectual.$tReligion.$tThe Cuban Revolution.
520 1 $a"The films of Tomas Gutierrez Alea (1928-1996) have always defined the limits of expression in revolutionary Cuba. This book is a thorough introduction to Cuba's most prominent filmmaker. It covers all of Alea's twelve feature films, with special emphasis on Memories of Underdevelopment (1968), The Last Supper (1976), and Strawberry and Chocolate (1993).
520 8 $aNot only are these considered his best films, but each is also symptomatic of an identifiable period in revolutionary Cuba - the period of triumph and affirmation in the 1960s, the period of consolidation and institutionalization in the 1970s, and the period of crisis since the fall of the Berlin Wall. Alea's Cuba, as seen through his films, is a complex reality that does not fit easily within the neat binarisms of the cold war, or the Manicheanism that has plagued discussions about the Revolution. Rather, it is a collective project full of contradictions, a process that has been, successively, progressive and reactionary, machista and feminist, dogmatic and tolerant, heroic and tragic.
520 8 $aTo paraphrase Alea, it is a project whose truth does not lie in either one of the poles, but rather in their confrontation, and what that confrontation suggests within a context that includes the cold war, Latin America's tradition of revolutionary struggles for independence, and Cuba's own particular history."--BOOK JACKET.
600 10 $aGutiérrez Alea, Tomás,$d1928-1996$xCriticism and interpretation.
830 0 $aLatin American studies (Routledge (Firm))$0http://id.loc.gov/authorities/names/n00044168
852 00 $bglx$hPN1998.3.G874$iS37 2002