Cine y (r)evolucion. El neorrealismo italiano en Cuba (1959-1969) 公开

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

About this Dissertation

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School	Laney Graduate School
Department	Spanish
Degree	PhD
Submission	Dissertation
Language	Spanish
Research Field	Literature, Caribbean Cinema Literature, Latin American
关键词	cine revolucion cubana neorrealismo italiano Julio Garcia Espinosa Cesare Zavattini Tomas Gutierrez Alea
Committee Chair / Thesis Advisor	Quiroga, Jose, Emory University
Committee Members	Rodriguez, Juan Carlos, Georgia Tech Carrion, Maria Mercedes, Emory University Sanders, Mark, Emory University

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