Transnational filmmaking and national identity in contemporary Cuban cinema (2000-2020)

当代古巴电影中的跨国电影制作和民族认同（2000-2020）

• 批准号: 2742657
• 金额: --
• 依托单位: Brunel University London
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2022
• 资助国家: 英国
• 起止时间: 2022 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2742657
• 关键词: Transnational; filmmaking; national; identity; contemporary

Since 1959, Cuban cinema has been inextricably tied to the Cuban revolution. Yet the historical conditions out of which both the revolution and the Cuban cinema emerged have been transformed in many ways.The recent social changes in Cuban society have made a significant impact on a new generation of Cuban filmmakers. They have benefited from a new context, characterized by greater access to new technologies, the emergence on the island of new independent production companies and a new political and social landscape. Within the film ecosystem, we have witnessed to some extent the decline of the Instituto Cubano de Arte e Industria Cinematográficos (ICAIC), once a producer of films of great importance such as Memorias del Subdesarrollo (1968) and Lucia (1968) that were part of a wider impulseof continental movements in relation to film culture. By contrast, Cuba is trying to insert itself in the dynamics of a globalized world. This new situation adds layers of complexity to the Cuban cultural system. Where once filmmakers only had to negotiate the representation of reality with Cuban political and cultural elites and audiences on the island, according to a socialist model of creation, they are now more directly engaged with entities and audiences in another countries. This new system of relations, in which the state continues to play a fundamental role, brings into play, firstly, issues of national identity and the idea of national cinema, and secondly, the role that Cuba would come to play in a world of great interdependencies and interconnections.

自1959年以来，古巴电影一直与古巴革命密不可分。然而，革命和古巴电影产生的历史条件已经在许多方面发生了变化。古巴社会最近的社会变化对新一代古巴电影制作人产生了重大影响。他们受益于新的背景，其特点是更多地获得新技术，岛上出现了新的独立制作公司，以及新的政治和社会格局。在电影生态系统中，我们在一定程度上见证了古巴艺术和工业电影研究所(ICAIC)的衰落，该研究所曾是重要电影的制片人，如《纪念苏德萨罗洛纪念碑》(1968)和《露西亚》(1968)，这些电影是与电影文化有关的大陆运动的更广泛动力的一部分。相比之下，古巴正试图将自己融入全球化世界的动态中。这一新形势给古巴的文化体系增添了层层复杂性。根据社会主义的创作模式，电影制作人以前只需与古巴的政治和文化精英以及岛上的观众谈判现实的呈现，现在他们更直接地与另一个国家的实体和观众接触。在这一新的关系体系中，国家继续发挥重要作用，首先是国家认同和国家电影理念的问题，其次是古巴将在一个相互依存和相互联系的世界中发挥的作用。