Advertisement

Introduction: Screening the Repeating Island

  • Dunja Fehimović
Chapter

Abstract

The Introduction establishes a conceptual framework, covering Chaos theory, Antonio Benitez-Rojo’s metaphor of the ‘repeating island,’ Fernando Ortiz’s distinction between ‘cubanidad’ and ‘cubanía’, and the psychoanalytical notion of the ‘screen’ that both conceals and projects content. It presents a corpus of films made outside (‘independently’), within, and with the national film institute (ICAIC), organises them according to key figures—the monster, the child, the historical icon, and the recluse—, and situates them in relation to the history of Cuban film, the Revolution, and the economic and political crisis known as the Special Period in Times of Peace. It thus outlines the overarching thesis of the book: 21st-century Cuban cinema attests to the continued relevance of national identity understood not as an essence but as an anxious dynamic of differential repetition.

Works Cited

  1. Adorno, Theodor. 1990. Negative Dialectics, trans. E.B. Ashton. London and New York: Routledge.Google Scholar
  2. Álvarez, Kiki. 2013. Jirafas. Film.Google Scholar
  3. Anderson, Benedict. 1991. Imagined Communities: Reflections on the Origin and Spread of Nationalism. London: Verso.Google Scholar
  4. Baudry, Jean-Louis. [1975] 1986. The Apparatus: Metapsychological Approaches to the Impression of Reality in the Cinema. In Narrative, Apparatus, Ideology, trans. Jean Andrews and Bertrand Augst and ed. Philip Rosen, 299–318. New York: Columbia University Press.Google Scholar
  5. Behar, Ruth (ed.). 1995. Bridges to Cuba/Puentes a Cuba. Ann Arbor: University of Michigan Press.Google Scholar
  6. Behar, Ruth, and Lucía M Suárez (eds.). 2008. The Portable Island: Cubans at Home in the World. New York and Basingstoke: Palgrave Macmillan.Google Scholar
  7. Benítez-Rojo, Antonio. 1996. The Repeating Island: The Caribbean and the Postmodern Perspective, trans. James E. Maraniss. Durham, NC and London: Duke University Press.Google Scholar
  8. Berg, Mette Louise. 2009. Between Cosmopolitanism and the National Slot: Cuba’s Diasporic Children of the Revolution. Identities 16 (2): 129–156.CrossRefGoogle Scholar
  9. Bhabha, Homi. 1990. Nation and Narration. London: Routledge.Google Scholar
  10. Billig, Michael. 1995. Banal Nationalism. London and Thousand Oaks, CA: Sage.Google Scholar
  11. Birkenmaier, Anke. 2011. Is There a Post-Cuban Literature? Review: Literature and Arts of the Americas 44 (1): 6–11.Google Scholar
  12. Bishop, Kyle. 2010. American Zombie Gothic: The Rise and Fall (and Rise) of the Walking Dead in Popular Culture. Jefferson, NC: McFarland.Google Scholar
  13. Bongie, Chris. 1998. Islands and Exiles: The Creole Identities of Post-Colonial Literature. Stanford, CA: Stanford University Press.Google Scholar
  14. Boym, Svetlana. 2001. The Future of Nostalgia. New York: Basic Books.Google Scholar
  15. Brugués, Alejandro. 2011. Juan de los Muertos. Film.Google Scholar
  16. Cabrera Infante, Sabá, and Orlando Jiménez Leal. 1961. P.M. Film.Google Scholar
  17. Carpentier, Alejo. 1953. Los pasos perdidos. Madrid: Alianza Editorial.Google Scholar
  18. Casamayor-Cisneros, Odette. 2012. Floating in the Void: Ethical Weightlessness in Post-Soviet Cuban Narrative. Bulletin of Latin American Research 31 (s1): 38–57.CrossRefGoogle Scholar
  19. Castro, Raúl. 2013. En Cuba no permitiremos terapias de choque. Cuba Debate, December 21. http://www.cubadebate.cu/especiales/2013/12/21/presidente-raul-castro-comparece-en-asamblea-nacional-del-poder-popular-fotos/.
  20. Castro, Fidel. 1961. Discurso pronunciado por el Comandante Fidel Castro Ruz, Primer Ministro del Gobierno Revolucionario y Secretario del PURSC, como conclusión de las reuniones con los intelectuales cubanos, efectuadas en La Biblioteca Nacional El 16, 23 y 30 de Junio de 1961. June 30. Available at http://www.cuba.cu/gobierno/discursos/1961/esp/f300661e.html.
  21. Chanan, Michael. 2004. Cuban Cinema. Minneapolis and London: University of Minnesota Press.Google Scholar
  22. Cohen, Jeffrey Jerome (ed.). 1996. Monster Theory: Reading Culture. Minneapolis and London: University of Minnesota Press.Google Scholar
  23. Copjec, Joan. 1989. The Orthopsychic Subject: Film Theory and the Reception of Lacan. October 49: 53–71.CrossRefGoogle Scholar
  24. Cortázar, Octavio. 1967. Por primera vez. Film.Google Scholar
  25. Cremata, Juan Carlos. 2005. Viva Cuba. Film.Google Scholar
  26. Crofts, Stephen. 1993. Reconceptualizing National Cinema/s. In Theorising National Cinema, ed. Valentina Vitali and Paul Willemen, 44–58. London: BFI.Google Scholar
  27. Davies, Catherine. 1996. Recent Cuban Fiction Films: Identification, Interpretation, Disorder. Bulletin of Latin American Research 15 (2): 177–192.CrossRefGoogle Scholar
  28. ———. 2000. Surviving (on) the Soup of Signs: Postmodernism, Politics, and Culture in Cuba. Latin American Perspectives 27 (4): 103–121.Google Scholar
  29. Deleuze, Gilles. 1992. Postscript on the Societies of Control. October 59 (Winter): 3–7.Google Scholar
  30. del Río, Joel. 2013. In Discussion with Dunja Fehimović. October 9.Google Scholar
  31. ———. 2014. Seducidos por la independencia: Cine cubano del siglo XXI. Progreso Semanal, February 17. http://progresosemanal.us/20140217/seducido-por-la-independencia-cine-cubano-del-siglo-xxi/.
  32. ———. 2015. Inagotable cubanía de Carmela, la maestra. La Jiribilla, July 31. http://www.lajiribilla.cu/articulo/10848/inagotable-cubania-de-carmela-la-maestra.
  33. del Río, Joel, and Enrique Colina. 2017. Memories of Cuban Cinema, 1959–2015. In A Companion to Latin American Cinema, ed. Stephen M. Hart, Maria M. Delgado, and Randal Johnson, 217–237. Wiley-Blackwell. https://doi.org/10.1002/9781118557556.ch13.
  34. Detzer, David. 1979. The Brink: Cuban Missile Crisis, 1962. New York: Thomas Y. Crowell Company.Google Scholar
  35. Díaz, Désirée. 2006. Alicia en el pueblo de maravillas: Otra pelea cinematográfica contra los demonios de la censura. In Cuba: Cinéma et Révolution, ed. Nancy Berthier and Julie Amiot Guillouet, 205–212. Lyon: GRIMH-LCE-GRIMIA.Google Scholar
  36. Díaz Torres, Daniel. 1991. Alicia en el pueblo de Maravillas. Film.Google Scholar
  37. Duno-Gottberg, Luis, and Michael J. Horswell (eds.). 2013. Sumergido/ Submerged. Alternative Cuban Cinema. Houston: Lateral Literal Publishing.Google Scholar
  38. Eliciting Smiles with “Viva Cuba.” 2005. ML Today, July 21. http://mltoday.com//index2.php?option=com_content&task=view&id=28&pop=1&page=0&Itemid=57.
  39. Elsaesser, Thomas. 1989. New German Cinema: A History. London: BFI.Google Scholar
  40. Fernandes, Sujatha. 2006. Cuba Represent!: Cuban Arts, State Power, and the Making of New Revolutionary Cultures. Durham, NC: Duke University Press.CrossRefGoogle Scholar
  41. Fernández, Damián J., and Madeline Cámara Betancourt (eds.). 2000. Cuba, the Elusive Nation: Interpretations of National Identity. Gainesville: University Press of Florida.Google Scholar
  42. Foucault, Michel. 1995. Discipline and Punish: The Birth of the Prison, trans. Alan Sheridan. New York: Vintage Books.Google Scholar
  43. Freud, Sigmund. [1899] 1962. Screen Memories. In The Standard Edition of the Complete Psychological Works of Sigmund Freud, Vol. III (1893–1899), ed. and trans. James Strachey, 292–322. London: Hogarth Press and the Institute of Psycho-Analysis.Google Scholar
  44. ———. 2001. Volume VII (1901–1905): A Case of Hysteria, Three Essays on Sexuality, and Other Works, ed. Angela Richards and James Strachey, vol. 7. The Standard Edition of the Complete Psychological Works of Sigmund Freud. London: Vintage Books.Google Scholar
  45. García, Borrero, and Juan Antonio. 2001. Guía crítica del cine cubano de ficción. La Habana: Editorial Arte y Literatura.Google Scholar
  46. ———. 2002. Rehenes de la sombra: Ensayos sobre el cine cubano que no se ve. Huesca: Filmoteca de Andalucía.Google Scholar
  47. ———. 2004. Cine cubano: historia, historiografía y posmodernidad. Temas. 37–38: 119–127.Google Scholar
  48. García Canclini, Néstor. 1995. Culturas híbridas: Estrategias para entrar y salir de la modernidad. Buenos Aires: Editorial Sudamericana.Google Scholar
  49. Gómez, Sara, and Tomás Gutiérrez Alea. 1974. De cierta manera. Film.Google Scholar
  50. Gómez de Avellaneda, Gertrudis. [1841] 2001. Sab, ed. Catherine Davies. Manchester: Manchester University Press.Google Scholar
  51. González, Eduardo. 2006. Cuba and the Tempest: Literature & Cinema in the Time of Diaspora. Chapel Hill: University of North Carolina Press.Google Scholar
  52. Gutiérrez Alea, Tomás. 1968. Memorias del subdesarrollo. Film.Google Scholar
  53. ———. 1976. La última cena. Film.Google Scholar
  54. ———. [1982] 1994. Tomás Gutiérrez Alea: Poesía y revolución. Las Palmas de Gran Canaria: Filmoteca Canaria.Google Scholar
  55. Gutiérrez Alea, Tomás, and Juan Carlos Tabío. 1993. Fresa y chocolate. Film.Google Scholar
  56. Hernández-Reguant, Ariana. 2004. Copyrighting Che: Art and Authorship under Cuban Late Socialism. Public Culture 16 (1): 1–29.CrossRefGoogle Scholar
  57. ———. 2005. Cuba’s Alternative Geographies. Journal of Latin American Anthropology 10 (2): 275–313.Google Scholar
  58. Hernández-Reguant, Ariana (ed.). 2009. Cuba in the Special Period: Culture and Ideology in the 1990s. New York and Basingstoke: Palgrave Macmillan.Google Scholar
  59. Higson, Andrew. 1989. The Concept of National Cinema. Screen 30 (4): 36–47.CrossRefGoogle Scholar
  60. Hjort, Mette, and Scott MacKenzie. 2000. Introduction. In Cinema and Nation, ed. Mette Hjort and Scott MacKenzie, 1–16. London and New York: Routledge.Google Scholar
  61. Huyssen, Andreas. 2002. High/Low in an Expanded Field. Modernism/Modernity 9 (3): 363–374.CrossRefGoogle Scholar
  62. Ichikawa Morín, Emilio. 2001. La heroicidad revolucionaria. Washington, DC: Center for a Free Cuba.Google Scholar
  63. Ingenschay, Dieter. 2010. Exilio, insilio y diáspora. La literatura cubana en la época de las literaturas sin residencia fija. Ángulo recto. Revista de estudios sobre la ciudad como espacio plural 2 (1): 1–10.Google Scholar
  64. Kapcia, Antoni. 2000. Cuba: Island of Dreams. Oxford: Berg.Google Scholar
  65. Kumaraswami, Par. 2009. Cultural Policy and Cultural Politics in Revolutionary Cuba: Re-reading the Palabras a los intelectuales. Bulletin of Latin American Research 28 (4): 527–541.CrossRefGoogle Scholar
  66. Kumaraswami, Par, and Antoni Kapcia. 2012. Literary Culture in Cuba: Revolution, Nation-Building and the Book. Manchester: Manchester University Press.CrossRefGoogle Scholar
  67. Lebeau, Vicky. 2001. Psychoanalysis and Cinema: The Play of Shadows. London and New York: Wallflower Press.Google Scholar
  68. Ley No. 169 de Creación Del ICAIC. [1959] 1988. In Hojas de cine: Testimonios y documentos del Nuevo Cine Latinoamericano: Volumen III, 13–19. México, DF: Fundación Mexicana de Cineastas; Secretaría de Educación Pública; Universidad Autónoma Metropolitana.Google Scholar
  69. López, Ana M. 1988. An “Other” History: The New Latin American Cinema. Radical History Review 1988 (41): 93–116.CrossRefGoogle Scholar
  70. ———. 2007. Cuba: A Porous National Cinema. In The Cinema of Small Nations, ed. Mette Hjort and Duncan J. Petrie, 179–197. Edinburgh: Edinburgh University Press.Google Scholar
  71. Martínez Heredia, Fernando. 1998. In the Furnace of the Nineties: Identity and Society in Cuba Today. Boundary 2 29 (3): 137–147.CrossRefGoogle Scholar
  72. McCoy, Terry (ed.). 2003. Cuba on the Verge: An Island in Transition. Boston: Bulfinch Press.Google Scholar
  73. Metz, Christian. 1982. Psychoanalysis and Cinema: The Imaginary Signifier. London: Macmillan.CrossRefGoogle Scholar
  74. Mulvey, Laura. [1989] 2009. Visual and Other Pleasures. Basingstoke: Palgrave Macmillan.Google Scholar
  75. O’Reilly Herrera, Andrea (ed.). 2007. Cuba: Idea of a Nation Displaced. Albany: State University of New York Press.Google Scholar
  76. Ortiz, Fernando. 1963. Contrapunteo cubano del tabaco y el azúcar. Santa Clara: Universidad Central de las Villas-Dirección de Publicaciones.Google Scholar
  77. ———. 2014. The Human Factors of Cubanidad, trans. João Felipe Gonçalves and Gregory Duff Morton. HAU: Journal of Ethnographic Theory 4 (3): 445–480.Google Scholar
  78. Packer, Sharon. 2007. Movies and the Modern Psyche. Westport, CT and London: Praeger.Google Scholar
  79. Padrón, Ian. 2011. Habanastation. Film.Google Scholar
  80. Padrón, Juan. 1985. ¡Vampiros en La Habana! Film.Google Scholar
  81. ———. 2003. Más vampiros en La Habana. Film.Google Scholar
  82. Pérez, Fernando. 1987. Clandestinos. Film.Google Scholar
  83. ———. 2010. José Martí: El ojo del canario. Film.Google Scholar
  84. Pérez, Louis A. Jr., 1999. On Becoming Cuban: Identity, Nationality and Culture. Chapel Hill and London: University of North Carolina Press.Google Scholar
  85. Pérez Firmat, Gustavo. 1989. The Cuban Condition: Translation and Identity in Modern Cuban Literature. Cambridge: Cambridge University Press.Google Scholar
  86. ———. 1997. A Willingness of the Heart: Cubanidad, Cubaneo, Cubanía. Cuban Studies Association Occasional Paper Series 2 (7).Google Scholar
  87. Pérez-López, Jorge F. (ed.). 1994. Cuba at a Crossroads: Politics and Economics After the Fourth Party Congress. Gainesville: University Press of Florida.Google Scholar
  88. Perugorría, Jorge. 2012. Se vende. Film.Google Scholar
  89. Piñera, Virgilio. 1998. La isla en peso: Obra poética, ed. Antón Arrufat. Ciudad de la Habana: Unión.Google Scholar
  90. Pittaluga, Gustavo, and Jorge Mañach. 1953. Diálogos sobre el destino. Editorial ‘Félix Varela’.Google Scholar
  91. Prieto, Abel. 1994. Cultura, Cubanidad, Cubanía. Presented at the Conferencia La nación y la emigración, La Habana, Cuba, April. http://www.lajiribilla.cu/2001/n8_junio/203_8.html.
  92. Quiroga, José. 2005. Cuban Palimpsests. Minneapolis and London: University of Minnesota Press.Google Scholar
  93. Redruello Campos, Laura. 2007. Algunas reflexiones en torno a la película Alicia en el pueblo de Maravillas. Cuban Studies 38 (December): 82–99.Google Scholar
  94. Rojas, Rafael. 2014. Cine sumergido. Diario de Cuba, April 6. http://www.diariodecuba.com/cultura/1396733463_8002.html.
  95. Rubio, Raúl. 2007. Framing the Cuban Diaspora: Representation and Dialogue in Recent Filmic Productions. In Cuba: Idea of a Nation Displaced, ed. Andrea O’Reilly Herrera, 314–327. Albany: State University of New York Press.Google Scholar
  96. Salván, Marta Hernández. 2015. Minima Cuba: Heretical Poetics and Power in Post-Soviet Cuba. Albany: State University of New York Press.Google Scholar
  97. Sánchez, Jorge Luis. 2010. Romper la tensión del arco: Movimiento cubano del cine documental. La Habana: Ediciones ICAIC.Google Scholar
  98. Santí, Enrico Mario. 1998. Fresa y chocolate: The Rhetoric of Cuban Reconciliation. MLN 113 (2): 407–425.CrossRefGoogle Scholar
  99. Sanz, Daniel Bruno. 2009. Cuba at a Crossroads: The New American Strategy. North Charleston: BookSurge.Google Scholar
  100. Sarduy, Severo. 1967. De donde son los cantantes. Madrid: Cátedra.Google Scholar
  101. Smith, Paul Julian. 1996. Vision Machines: Cinema, Literature, and Sexuality in Spain and Cuba, 1983–93. London: Verso.Google Scholar
  102. Solás, Humberto. 1968. Lucía. Film.Google Scholar
  103. Sommer, Doris. 1991. Foundational Fictions: The National Romances of Latin America. Berkeley and Oxford: University of California Press.Google Scholar
  104. Stock, Ann Marie. 2008. Una nueva generación de realizadores y una nación que cambia. Temas 56 (December): 142–151.Google Scholar
  105. ———. 2009. On Location in Cuba: Street Filmmaking During Times of Transition. Chapel Hill: University of North Carolina Press.Google Scholar
  106. Tabío, Juan Carlos. 1983. Se permuta. Film.Google Scholar
  107. ———. 1988. ¡Plaff! O demasiado miedo a la vida. Film.Google Scholar
  108. Ureta, Alfredo. 2011. La guarida del topo. Film.Google Scholar
  109. Vega, Pastor. 1978. Retrato de Teresa. Film.Google Scholar
  110. Venegas, Cristina. 2010. Digital Dilemmas: The State, the Individual, and Digital Media in Cuba. New Brunswick, NJ: Rutgers University Press.Google Scholar
  111. Villaverde, Cirilo. 1839. Cecilia Valdés. Editorial Verbum.Google Scholar
  112. Vitali, Valentina, and Paul Willemen (eds.). 2006. Theorising National Cinema. London: BFI.Google Scholar
  113. Young, Elliot. 2007. Between the Market and a Hard Place: Fernando Pérez’s Suite Habana in a Post-Utopian Cuba. Cuban Studies 38 (December): 26–49.CrossRefGoogle Scholar

Copyright information

© The Author(s) 2018

Authors and Affiliations

  1. 1.School of Modern LanguagesNewcastle UniversityNewcastle upon TyneUK

Personalised recommendations