Undergraduate Course: Cuban and Puerto Rican Cinema: Between Revolution and Colonialism (Ordinary) (ELCH09028)
|School||School of Literatures, Languages and Cultures
||College||College of Arts, Humanities and Social Sciences
|Credit level (Normal year taken)||SCQF Level 9 (Year 4 Undergraduate)
||Availability||Available to all students
|Summary||This course will offer an introduction to a range of Cuban and Puerto Rican films from different periods and styles, focusing on how filmmakers in both Cuba and Puerto Rico (and their diasporas) have (re)negotiated their political conditions and production possibilities.
While Cuba in the 1960s was the epicenter of the Latin American left, Puerto Rico was the symbolic showcase of Caribbean capitalism. This course will offer an introduction to a range of Cuban and Puerto Rican films from different periods and styles, focusing on how filmmakers in both Cuba and Puerto Rico (and their diasporas) have (re)negotiated their political conditions and production possibilities. Students will examine a selection of films in order to explore issues relating to revolution and colonialism (and neocolonialism). The course will explore related concerns surrounding film aesthetics and language in both documentary and fiction. The material will be discussed in terms of both the aesthetic contributions the films have made and their foregrounding of discourses on politics, gender and race.
Entry Requirements (not applicable to Visiting Students)
||Other requirements|| None
Information for Visiting Students
|Pre-requisites||In order to be eligible to take 4th Year Options, Visiting Students should have the equivalent of at least two years of study at University level of the appropriate language(s) and culture(s).
Course Delivery Information
|Not being delivered|
On completion of this course, the student will be able to:
- demonstrate familiarity with a diverse range of films from Cuba and Puerto Rico, and the historical context that surrounds their production and reception.
- examine the ways in which the analysis of different films contributes to the understanding of broader political struggles and social contexts.
- critically explore key concepts and frameworks in Latin American and world cinema and history in order to substantiate their arguments.
- evaluate the way cinema in Cuba and Puerto Rico has evolved in new media ecologies.
- critically analyze the diversity of cinema within Cuba and Puerto Rico.
Díaz-Zambrana, Rosana and Patricia Tome. Cinema paraíso: Representaciones e imágenes audiovisuales
en el Caribe hispano. San Juan and Santo Domingo: Isla Negra, 2010.
Esterrich, Carmelo. Concrete and Countryside: The Urban and the Rural in 1950s Puerto Rican Culture.
Pittsburgh: University of Pittsburgh Press, 2018.
The Ethnic Eye: Latino Media Arts. Eds, Chon A. Noriega and Ana M. Lopez. Minneapolis: University
of Minnesota Press, 1996.
Hojas de cine: Testimonios y documentos del Nuevo Cine Latinoamericano. Vol. III Centroamérica y el
Caribe. Mexico: Fundación Mexicana de Cineastas, 1988.
Imagining Our Americas: Toward a Transnational Frame. Eds. Sandhya Shukla and Heidi Tinsman.
Durham: Duke University Press, 2007.
New Latin American Cinema, ed. Michael T. Martin, Vol. 2. Detroit: Wayne State University Press, 1997.
Puerto Rican Jam: Essays on Culture and Politics. Ed. Frances Negrón-Muntaner and Ramón
Grosfoguel. Minneapolis: University of Minnesota Press, 1997.
Venegas, Cristina. Digital Dilemmas: The State, the Individual, and Digital Media in Cuba. New
Brunswick: Rutgers University Press, 2009.
Aguilera Skvirsky, Salomé. "The Postcolonial city symphony film and the 'ruins' of Suite Habana."
Social Identities, 19: 3-4 (2013): 423-439.
Ebrahim, Haseenah. "Afrocuban Religions in Sara Gómez's One Way or Another and Gloria Rolando's
Oggun." The Western Journal of Black Studies 22.4 (1998): 239-251.
López, Iraida. "Interview with La Operación's Ana María García, 'Not many options for contraception.'"
Jump Cut: A Review of Contemporary Media 29 (1984): 38-39.
Lord, Susan. "Acts of Affection: Cinema, Citizenship, and Race in the Work of Sara Gómez." Gender
and Sexuality in 1968: Transformative Politics in the Cultural Imagination, eds. Lessie Jo Frazier
and Deborah Cohen. New York: Palgrave, 2009. 173-192.
Lugo-Ortiz, Lourdes. Tropiezos con la memoria: La esterilización femenina puertorriqueña. San Juan:
Plaza Mayor, 2011.
Marsh Kennedy, Catherine. Negociaciones culturales: Los intelectuales y el proyecto pedagógico del
estado muñocista. San Juan: Ediciones Callejón, 2009.
Martínez-Echazábal, Lourdes y Inés María Martiatu, "¡Sara es mucha Sara!" Afro-Hispanic Review 33.1
Noriega, Chon A. "An Education Through Art, 1960." Aztlán: A Journal of Chicano Studies 41.1 (2016):
---. "Sacred Contingencies: The Digital Deconstructions of Raphael Montañez Ortiz." Art
Journal 54.4 (1995): 36-40.
Ramos, Julio. "Otros modos de hacer cine: conversación con Miguel Coyula en La Habana." 80Grados,
Safa, Helen. Myth of the Male Breadwinner: Women and Industrialization in the Caribbean. New York:
De cierta manera. Dir. Sara Gómez. Cuba: ICAIC, 1974.
Manos a la obra: Operación Bootstrap. Dir. Pedro Rivera and Susan Zeig. Cinema Guild, 1983.
Memorias del desarrollo. Dir. Miguel Coyula. Pirámide, 2010.
Memorias del subdesarrollo. Dir. Tomás Gutiérrez Alea. Cuba: ICAIC, 1968.
La Operación. Dir. Ana María García. Latin America Film Project, 1982.
El Puente. Dir. Amílcar Tirado. Divedco, 1954.
Puerto Rico: Paradise Invaded. Dir. Alfonso Beato. Latin America Film Project, 1977.
Santa y Andrés. Dir. Lechuga, Carlos. 5th Avenue Productions, 2016.
Suite Habana. Dir. Fernando Pérez. ICAIC, 2003.
Los Sures. Dir. Diego Echeverria. Union Docs, 1984.
|Graduate Attributes and Skills
As an outcome of having studied this course, students will benefit from having developed a
range of professional and personal skills commensurate with the range of SCQF Level 10
Knowledge and understanding: students will have had the opportunity to demonstrate their
critical understanding of a range of the principal theories and concepts of media analysis in
relation to their reading and discussion of the course material;
Applied Knowledge, Skills and Understanding: in their work for class discussion, presentations
and formal assessment tasks, students will have been able to practice the application of these
theories and concepts in their construction of arguments about the course material;
Generic Cognitive skills: in completing assessed essays and class presentations, students will
have practiced identifying, defining, conceptualizing and analyzing complex problems and issues
germane to the discipline;
Communication: through participating in these tasks students will also have demonstrated the
ability to communicate ideas and information about specialized topics in the discipline to an
informed audience of their peers and subject specialists;
Autonomy and Working with Others: students will also have shown the capacity to work
autonomously and in small groups on designated tasks, develop new thinking with their peers,
and take responsibility for the reporting, analysis and defense of these ideas.
|Course organiser||Dr Jessica Gordon-Burroughs
Tel: (0131 6)50 3679
|Course secretary||Miss Kat Zabecka
Tel: (0131 6)50 4026