LEADER 05957oam 22005414a 450 001 9910735298703321 005 20230821053832.0 010 $a1-55753-988-X 010 $a1-55753-987-1 035 $a(CKB)5590000000000045 035 $a(OCoLC)1162192517 035 $a(MdBmJHUP)muse85971 035 $a(MiAaPQ)EBC6240585 035 $a(Au-PeEL)EBL6240585 035 $a(OCoLC)1189771228 035 $a(Perlego)1600625 035 $a(EXLCZ)995590000000000045 100 $a20200406d2021 uy 0 101 0 $aspa 135 $aur|||||||nn|n 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aNeorrealismo y cine en Cuba$eHistoria y discurso en torno a la primera polémica de la Revolución, 1951?1962 /$fAnastasia Valecce 205 $a1st ed. 210 1$aWest Lafayette :$cPurdue University Press,$d2021. 210 3$aBaltimore, Md. :$cProject MUSE,$d2020 210 4$d©2021. 215 $a1 online resource (1 online resource) 225 0 $aPurdue studies in Romance literatures ;$v80 311 08$a1-55753-989-8 320 $aIncludes bibliographical references and index. 327 $aCover -- NEORREALISMO Y CINE EN CUBA -- Title -- Copyright -- Dedication -- I?ndice -- Agradecimientos -- Introduccio?n El proyecto -- Sobre el neorealismo italiano -- El neorrealismo italiano en Cuba -- Cronologi?a -- Las peli?culas cubanas -- La ruptura -- Estructura, metodologi?a y conceptos teo?ricos -- Desglose de los capi?tulos -- Capi?tulo uno El neorrealismo italiano y sus divergencias -- Un conjunto de voces -- El contexto histo?rico-social -- ¿Continuidad o ruptura? -- Filmografi?a y revistas neorrealistas -- Una este?tica cambiante -- Capi?tulo dos Zavattini transatla?ntico -- El aire se mide en "Za" -- La produccio?n zavattiniana en Italia -- Zavattini y el neorrealismo -- Zavattini en Cuba -- ¿Za transatla?ntico o una este?tica transatla?ntica? -- Capi?tulo tres Entre el especta?culo, la propaganda y la realidad: El neorrealismo italiano segu?n Julio Garci?a Espinosa y Toma?s Gutie?rrez Alea -- Coordenadas -- Toma?s Gutie?rrez Alea -- El valor de las conversaciones epistolares -- Las cartas -- Julio Garci?a Espinosa -- Conclusiones -- Capi?tulo cuatro La imaginacio?n de la Revolucio?n en pantalla: Sogno di Giovanni Bassain y El Me?gano -- Imaginando nuevas posibilidades narrativas en la era prerrevolucionaria -- El suen?o de Tito?n -- Sogno di Giovanni Bassain -- El ana?lisis fi?lmico -- La imaginacio?n desde Giovanni a Tito?n -- La Revolucio?n en 16mm.: el caso de El Me?gano -- Los escritos acerca de El Me?gano -- Sobre el proyecto -- La peli?cula -- Conclusiones -- Capi?tulo cinco Por un cine "neorreali?sticamente" (im)perfecto: Historias de la Revolucio?n y El joven rebelde -- La Revolucio?n en pantalla -- Historias de la Revolucio?n -- Un ana?lisis de los episodios: "El herido," "Rebeldes" y "Santa Clara" -- Historias de un espacio problema?tico -- El joven rebelde -- Las cartas (de unos jo?venes rebeldes) -- Un libro rebelde -- La peli?cula -- Conclusiones. 327 $aConclusio?n Trayectorias futuras -- Sobre las trayectorias -- Primeros pasos -- Organizacio?n del texto -- Ma?s alla? de los li?mites -- De la pra?ctica a la teori?a -- Trayectorias futuras -- Neorrealismo a lo cubano -- Notas -- Bibliografi?a -- Filmografi?a -- I?ndice alfabe?tico -- About the book -- About the author. 330 $a"Neorrealismo y cine en Cuba: Historia y discurso entorno a la primera polemica de la Revolucio?n, 1951-1962 [Neorealism and Cinema in Cuba: History and Discourse on the First Polemic of the Revolution, 1951-1962] examines the aesthetic history and relations between Cuban film production and Italian Neorealism. The historical framework begins in 1951 before the triumph of the Cuban Revolution and ends in 1962, a year that marks a rupture between Cuban filmmakers and the Italian neorealist aesthetic. The main collaborations happened between Cuban directors Toma?s Gutierrez Alea and Julio Garci?a Espinosa and Italian neorealist filmmaker Cesare Zavattini. The circumstances that led to the end of the relationship between Zavattini and the Cuban filmmakers are connected to the film El joven rebelde [The Young Rebel], directed by Garci?a Espinosa and screened for the first time in 1961. The rupture centered on creative and ideological differences regarding the way in which the protagonist was to be portrayed in the movie. This seemingly minor disagreement had considerably larger repercussions, the end result of which was that Garci?a Espinosa and Gutierrez Alea, as well as the rest of the Cuban filmmakers who worked within the Instituto Cubano del Arte e Industria Cinematogra?ficos (ICAIC) after 1959, were driven to find their own creative strategies to craft a national film production. However, the Cuban filmmakers would not have found the necessary grammar to rewrite their own revolutionary cinema without the rupture with Zavattini. This new cinematographic language could not have existed without the various pauses and the distances that characterized the Cuban relationship with Neorealism. In other words, the fragmentary interchange between Garci?a Espinosa, Gutierrez Alea, and Zavattini created new spaces in which the Cubans could find creative opportunities to express their own cinematic vision"--$cProvided by publisher. 410 0$aPurdue Studies in Romance Literatures 606 $aRealism in motion pictures 606 $aMotion pictures$zCuba$xHistory$y20th century 615 0$aRealism in motion pictures. 615 0$aMotion pictures$xHistory 676 $a791.43097291/09045 700 $aValecce$b Anastasia$f1980-$01379749 801 0$bMdBmJHUP 801 1$bMdBmJHUP 906 $aBOOK 912 $a9910735298703321 996 $aNeorrealismo y cine en Cuba$93420079 997 $aUNINA