The Creative Work of Two Cuban Filmmakers : Tomás Gutiérrez Alea and Fernando Pérez
Pages 57 à 64
Citer cet article
- SANTOS MORAY, Mercedes,
- Santos Moray, Mercedes.
- Santos Moray, M.
https://doi.org/10.3917/lms.219.0057
Citer cet article
- Santos Moray, M.
- Santos Moray, Mercedes.
- SANTOS MORAY, Mercedes,
https://doi.org/10.3917/lms.219.0057
Notes
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[*]
Doctor in history, professor of communication at the University of Havana.
- (1)A first draft of this section is available on www. cubanow. net.
- (2)Afirst draft of this section is available on wwww. soycubano. com/ bijirita/ cine/ signo_ escorpioni.asp.
- (3)Cf. M. SANTOS MORAY, La vida es un silbo : Fernando Pérez, Havana, E. ICAIC-ARCI-UCCA, 2004.
- (4)M. SANTOS MORAY, « Filmar... silber a la manera de Fernando Pérez », Prisma Magazine, 26, no 294, July-August 1999, p. 32-33.
- (5)Ibid.
- (6)The other quotations come from a large unpublished interview the author made for her book about the life and work of this Cuban producer..
- (7)M. SANTOS MORAY, « Filmar... »? art. cit.
Cinéastes cubains après la Révolution : Tomás Gutierrez Alea et Fernando Pérez.
Le cinéma cubain, qui existait avant 1959, prend une importance exceptionnelle après le triomphe de la Révolution et la fondation de l’Institut Cubain de l’Art et de l’Industrie Cinématographiques. L’article évoque deux réalisateurs de deux générations successives qui ont maintenu leur liberté de création dans le documentaire comme dans la fiction.
Cuban cinema, which existed before 1959, took an exceptional importance after the triumph of the Revolution and the foundation of the Cuban Institute of Cinematographic Art and Industry. The article sketches the trajectories of two film directors, who belonged to two generations, and maintained their freedom of creation in documentary film as well as in fiction.