Abstract
| Original language | Spanish |
|---|---|
| Pages (from-to) | 81-90 |
| Number of pages | 10 |
| Journal | Revista Cine Cubano |
| Volume | 177-178 |
| Issue number | July-December 2010 |
| Publication status | Published - 31 Dec 2010 |
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In: Revista Cine Cubano, Vol. 177-178, No. July-December 2010, 31.12.2010, p. 81-90.
Research output: Contribution to journal › Article › peer-review
TY - JOUR
T1 - La mujer perfecta dentro de un cine imperfecto? La posibilidad de una visión alternativa.
AU - Baron, G.
PY - 2010/12/31
Y1 - 2010/12/31
N2 - This article attempts to create a cross-cultural dialogue between Cuban cinema and certain aspects of theory and thought from the USA and Europe in an attempt to further illustrate some of the ideas associated with the production of images of women and male/female relations in Cuban cinema of the Revolution. After a discussion of recent visions of this aspect of Cuban cinema from writers Gillian McGillivray, Catherine Davies, Marvin D'Lugo, Michelle Spinella, Catherine Benamou and José Álvarez, the article then puts forward the possibility of uncovering alternative visions of women in Cuban cinema with the use of certain aspects of feminist film theory. Such theory includes the use of Laura Mulvey's seminal essay 'Visual Pleasure and Narrative Cinema' (1975) and various aspects of so-called 'French feminism' which, I believe, can comfortably sit alongside Cuban cinema's theoretical foundations of Imperfect cinema in a workable dialectical exchange that can serve as an aid to a more profound understanding of the subject. Via brief discussion of the films De cierta manera, Retrato de Teresa, Luján, Hasta cierto punto and Mujer transparente the article will attempt to show how women in Cuban cinema have been primarily seen to serve as referents of the national struggle. But perhaps it is also possible to tease out the individual Cuban woman in these films to discover to what extent their individuality is subsumed by the collective in what has been considered to be a traditionally patriarchal and machista society.
AB - This article attempts to create a cross-cultural dialogue between Cuban cinema and certain aspects of theory and thought from the USA and Europe in an attempt to further illustrate some of the ideas associated with the production of images of women and male/female relations in Cuban cinema of the Revolution. After a discussion of recent visions of this aspect of Cuban cinema from writers Gillian McGillivray, Catherine Davies, Marvin D'Lugo, Michelle Spinella, Catherine Benamou and José Álvarez, the article then puts forward the possibility of uncovering alternative visions of women in Cuban cinema with the use of certain aspects of feminist film theory. Such theory includes the use of Laura Mulvey's seminal essay 'Visual Pleasure and Narrative Cinema' (1975) and various aspects of so-called 'French feminism' which, I believe, can comfortably sit alongside Cuban cinema's theoretical foundations of Imperfect cinema in a workable dialectical exchange that can serve as an aid to a more profound understanding of the subject. Via brief discussion of the films De cierta manera, Retrato de Teresa, Luján, Hasta cierto punto and Mujer transparente the article will attempt to show how women in Cuban cinema have been primarily seen to serve as referents of the national struggle. But perhaps it is also possible to tease out the individual Cuban woman in these films to discover to what extent their individuality is subsumed by the collective in what has been considered to be a traditionally patriarchal and machista society.
UR - http://hdl.handle.net/2160/8431
M3 - Erthygl
SN - 0009-6946
VL - 177-178
SP - 81
EP - 90
JO - Revista Cine Cubano
JF - Revista Cine Cubano
IS - July-December 2010
ER -