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001			musev2_77429
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005			20240815120834.0
006			m o d
007			cr||||||||nn|n
008			200406s2021 inu o 00 0 spa d
010			_z 2020006706
020			_a9781557539892
020			_z9781557539885
020			_z9781557539878
035			_a(OCoLC)1162192517
040			_aMdBmJHUP _cMdBmJHUP
043			_anwcu---
050	0	4	_aPN1993.5.C8
082	0		_a791.43097291/09045 _223
100	1		_aValecce, Anastasia, _d1980- _eauthor.
245	1	0	_aNeorrealismo y cine en Cuba : _bHistoria y discurso en torno a la primera polémica de la Revolución, 1951–1962 / _cAnastasia Valecce.
264		1	_aWest Lafayette : _bPurdue University Press, _c2021.
264		3	_aBaltimore, Md. : _bProject MUSE, _c2020
264		4	_c©2021.
300			_a1 online resource (246 pages).
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
490	0		_aPurdue studies in Romance literatures ; _v80
504			_aIncludes bibliographical references and index.
506	0		_aOpen Access _fUnrestricted online access _2star
520			_a"Neorrealismo y cine en Cuba: Historia y discurso entorno a la primera polemica de la Revolución, 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 Tomás Gutierrez Alea and Julio García 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 García 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 García Espinosa and Gutierrez Alea, as well as the rest of the Cuban filmmakers who worked within the Instituto Cubano del Arte e Industria Cinematográficos (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 García 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.
588			_aDescription based on print version record.
650		0	_aRealism in motion pictures.
650		0	_aMotion pictures _zCuba _xHistory _y20th century.
655		7	_aElectronic books. _2local
776	1	8	_iPrint version: _aValecce, Anastasia, 1980- _tNeorrealismo y cine en Cuba _dWest Lafayette : Purdue University Press, 2021. _z9781557539878 _w(DLC) 2020006705
710	2		_aProject Muse. _edistributor
830		0	_aBook collections on Project MUSE.
856	4	0	_zFull text available: _uhttps://muse.jhu.edu/book/77429/
945			_aProject MUSE - 2020 Complete
945			_aProject MUSE - 2020 Global Cultural Studies
999			_c234389 _d234388