Cine y (r)evolucion. El neorrealismo italiano en Cuba (1959-1969) Open Access
Valecce, Anastasia (2013)
Published
Abstract
Abstract
Cine y ( r)evolucion. El neorrealismo italiano en Cuba (1959-1969)
By Anastasia Valecce
My dissertation examines how aesthetic relations between Italian Neorealist film and Cuban film production during the Cuban revolution (1959-1969) re defined the ways in which the revolutionary ideology narrated, and still narrates, its historical
processes through the production of national cinema. I delineate the Cuban film production from an understudied angle: the connection with the Italian neorealism instead of the most common comparison with the Soviet influence.
The contact between Italian Neorealism and revolutionary Cuban film production is represented by the presence of Cuban directors in Rome at the school of cinema, and through the travels of Cesare Zavattini to Cuba between 1953 and 1959 to work
with Cuban directors. The goal is to understand the development of the visual art aesthetics in Cuba. In my first chapter, I focus on Zavattini's presence in Cuba between 1953 and 1959 and on his influence on the works of Cuban filmmakers Julio
Garci a Espinosa and Toma s Gutierrez Alea.
My second chapter follows Garcia Espinosa's years in Rome and his pre-revolutionary experiences in Italy between 1951 and 1953. I analyze two works by Garci-a Espinosa produced prior and post revolution: El Megano (1955) and El joven rebelde
(1961). These works are representative of the evolution of the relation and use of Italian Neorealism in Garcia Espinosa's future work.
In my third chapter, I study Tomas Gutierrez Alea's work using some of his early films: Sogno di Giovanni Bassain (1953) and Historias de la revolucion (1960). Sogno di Giovanni Bassain is an unedited short that had never been studied prior to my
dissertation. Historias de la revolucion is the first work produced by the Cuban Revolution with the official presence of neorealist experts from Italy.
This transatlantic dialogue creates a space for a dialogue that highlights comparisons, negotiations, disputes, ruptures and recuperations that make Cuban cinema studies a compound space of investigation.
Table of Contents
Indice
Introducción.................................................................................................. 1
I Capítulo
"El neorrealismo italiano y Cesare Zavattini"......................................................... 33
1.1 Disonancias neorrealistas ........................................................................... 34
1.2 El neorrealismo italiano según Cesare Zavattini ............................................... 50
1.3 El aire se mide en Za .................................................................................. 64
II Capítulo
"Entre el espectáculo, la propaganda y la realidad:
el neorrealismo italiano según Julio García Espinosa"............................................... 85
2.1 Primeros (con)tactos neorrealistas ................................................................. 86
2.1.2 La primera vez del neorrealismo en Cuba: 1953 ............................................. 106
2.2 Madrugadas neorrealistas: El Mégano............................................................. 111
2.2.1 El Mégano en papel: las cartas .................................................................. 113
2.2.2 El Mégano: la película............................................................................... 118
2.2.3 Evidencias neorrealistas ........................................................................... 129
2.3 Por un cine neorrealisticamente (im)perfecto: El joven rebelde ........................... 133
2.3.1 Las cartas.............................................................................................. 136
2.3.2 El libro .................................................................................................. 149
2.3.3 La película ............................................................................................. 156
2.3.4 Conclusiones .......................................................................................... 165
III Capítulo
Coloquios discordantes:
Tomás Gutiérrez Alea habla (neorrealismo) italiano.................................................. 170
3.1 Lost in translation: Titón el italiano................................................................ 171
3.2 Vacanze romane: Sogno di Giovanni Bassain..................................................... 197
3.3 Erase una vez: Historias de la Revolución........................................................ 213
Conclusiones................................................................................................... 229
Bibliografía...................................................................................................... 239
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