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Caribbean Cinema Now

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GUEST EDITOR • DORIS HAMBUCH EMIEL MARTENS MARÍA CRISTINA RODRÍGUEZ RICARDO ARRIBAS SABRINA CECCATO MEREDITH ROBINSON HYACINTH SIMPSON MATTHIAS DE GROOF & KATHLEEN GYSSELS ADAM LAUDER CARIBBEAN CINEMA NOW ISSUE 6-2, 2015 CARIBBEAN CINEMA NOW Guest editor - Doris Hambuch Managing editor - Brent Ryan Bellamy Editor in Chief | Rédacteur en chef | Sheena Wilson Sommaire/Contents Editorial Team | Comité de rédaction Caribbean Cinema Now: Introduction • 4-9 Daniel Laforest, Carrie Smith-Prei, Andriko Lozowy, Brent Ryan Bellamy Doris Hambuch Guest Artist - Storm Saulter - Portfolio • 10-17 French Content Editor | Contenu français Storm Saulter & Emiel Martens Daniel Laforest Copy Editor | Révisions Guest Artist - Storm Saulter - Interview • 18-25 Shama Rangwala Emiel Martens Design | Design The Island Image and Global Links in Puerto Rican Cinema of the 21st Century • 26-35 John Montague María Cristina Rodríguez Web Editor | Mise en forme web Brent Ryan Bellamy Más allá de la fascinación y el horror: hacía una estética relacional del cine caribeño • 36-53 Reviews Editor – Elicitations | Comptes rendus critiques Élicitations Ricardo Arribas Tara Milbrandt Cinema in Jamaica - Legacy of The Harder They Come • 54-67 Founding Editors: William Anselmi, Daniel Laforest, Carrie Smith-Prei, Sheena Wilson Sabrina Ceccato Christian Lara: Editorial Advisory Board | Comité scientifique Reconciling Vision and Execution in Sucre Amer and 1802 l’Epopée Guadeloupéenne • 68-83 Hester Baer, University of Maryland College Park, United States Meredith Robinson Mieke Bal, University of Amsterdam & Royal Netherlands Academy of Arts and Sciences, Netherlands Andrew Burke, University of Winnipeg, Canada A Parradox in Caribbean Cinema? Ollivier Dyens, Concordia University, Canada An Interview with Minimal Movie Filmmaker Pim de la Parra, Pragmatic Dreamer from Suriname • 84-97 Michèle Garneau, Université de Montréal, Canada Emiel Martens Wlad Godzich, University of California Santa Cruz, United States Kosta Gouliamos, European University, Cyprus The Caribbean, On Screen: A Conversation with Frances-Anne Solomon • 98-111 Faye Hammill, University of Strathclyde, United Kingdom Hyacinth Simpson Anton Kaes, University of California Berkeley, United States Dominic McIver Lopes, University of British Columbia, Canada Give Me Back My Black Dolls: Sarah McGaughey, Dickinson College, United States Damas’ Africa and Its Museification, From Poetry to Moving Pictures • 112-123 Peter McIsaac, University of Michigan, United States Matthias De Groof & Kathleen Gyssels Marie-Dominique Popelard, Université de la Sorbonne Nouvelle - Paris 3, France Christine Ramsay, University of Regina, Canada Book Review - Explorando el Cine Caribeño (Exploring Caribbean Cinema) • 124-125 Laurence A. Rickels, Academy of Fine Arts, Karlsruhe, Germany Kristian van Haesendonck Will Straw, McGill Univeristy, Canada Imre Szeman, University of Alberta, Canada Sponsors Time-Savers: Bertram Brooker and the Politics of Time and Material Culture • 126-145 Adam Lauder Contributor Bios • 146-149 Front Cover Image - Como era gostoso o meu francês - Dir. Nelson Pereira Dos Santos (1971) This research was supported by the Social Sciences and Humanities Research Council of Canada ISSUE 6-2, 2015 http://dx.doi.org/10.17742/IMAGE.CCN.6-2 PENDAKISDORIS HAMBUCH& WILSON CARIBBEAN CINEMA NOW: 10.17742/IMAGE.sightoil.3-2.1 INTRODUCTION DORIS HAMBUCH Fig. 1. Caribbean Tales Festival Poster Saulter’s guest artist portfolio, which aptly illustrates the achievements of an impressive career. The subsequent interview with Emiel Martens explains in detail the challenges thatapply to filmmaking conditions throughout he idea for this special issue originates in the realization that there has not the region. As a founding member of the New been a follow-up of Mbye Cham’s Ex-Isles: Essays on Caribbean Cinema Caribbean Cinema Movement (http://www. (1992), published more than two decades ago.1 The book review included newcaribbeancinema.com/), Saulter is a model Tin this issue highlights the only exception, but the book in question, Explorando activist whose perseverance and creativity have found yet another well-deserved recognition in his el cine caribeño (2011; Exploring Caribbean Cinema), edited by Luis Alberto No- recent appointment as filmmaker-in-residence at tario and Bruce Paddington, was published in Spanish and with a very limited the University of the West Indies, Mona Campus. number of copies. According to the editors, an English translation of their book The third interview places Hyacinth Simpson in is forthcoming soon and, as Kristian Van Haesendonck predicts in the end of his dialogue with Frances-Anne Solomon, the founder review, such a translation should prove invaluable for future studies in Caribbean of Caribbean Tales (http://www.caribbeantales. cinema. A symposium whose theme was identical with the title of the present ca/), a registered Canadian charity responsible for issue brought together a series of academic presentations during the recent 10th- numerous opportunities in support of Caribbean anniversary edition of the Trinidad and Tobago Film Festival (TTFF), indicating a more optimistic outlook for the future of Caribbean film studies. Scholarship in Caribbean film studies has been scarce even within individual linguistic entities in the region, with the notable exception of Cuba. Important examples of such research include Keith Q. Warner’s On Location: Cinema and Film in the Anglophone Caribbean (2000), Joaquín ‘Kino’ García’s Historia del Cine Puertorriqueño (1900-1999) (2014 [1984]), as well as parts of Carolyn Cooper’s Sound Clash: Jamaican Dancehall Culture at Large (2004) and Lieve Spaas’s Francophone Film: A Struggle for Identity (2000). The essays and interviews included in Caribbean Cinema Now highlight that the small amount of widely available Caribbean film scholarship is not due to a lack of material. The combination of the diverse analyses and filmmaker commentaries further emphasizes the benefits of cross-Caribbean exchange between producers, other participants in the regional industries, as well as among critics, whether in the region itself or in its so-called diaspora. The launch of the first Caribbean Film Mart and The fact that the Caribbean Film Database is Regional Film Database at this year’s Trinidad and accessible in English, French, and Spanish but Tobago Film Festival (http://www.ttfilmfestival. not Dutch reflects a chronic underrepresentation com/) may be an economic manifestation of the of the Dutch-speaking Caribbean in cross- creative vision expressed by Surinamese director regional studies. Despite extensive efforts on Pim de la Parra in the interview with Emiel my part, the present collection was not able to Martens: remedy thispersistent problem to the anticipated extent. The interview with Pim de la Parra and a Caribbean cinema consists of all [the] individual comparative analysis of Felix de Rooy’s Desirée initiatives in the region that have brought about, (1984) in Ricardo Arribas’s “Hacía una estética and brought together, a diverse body of films relacional del cine caribeño” (“Towards an filmmakers, including scholarships, workshops, Fig. 2. Caribbean Film Mart that are somehow connected through our his- ‘Aesthetics of Relation’ in Caribbean Cinema”) and the annual Caribbean Tales International Film tory, culture, geography and climate. There will are in fact the only representations of Dutch Festival (http://www.caribbeantales.ca/CTFF/). always be young Caribbean people who will rise Caribbean cinema in this issue. and produce films—and so every now and then Like the Trinidad and Tobago Festival, Caribbean such a film could reach the whole world. We just The combination of interviews and critical essays Tales celebrated its 10th anniversary this year. have to keep hoping and to keep dreaming. (8 otherwise provides a diverse and necessarily Solomon’s interview illuminates her dedication to “A Paradox in Caribbean Cinema?”) eclectic glimpse into recent developments in these institutions as well as her own experiences as Caribbean cinema. The issue begins with Storm prolific filmmaker. http://dx.doi.org/10.17742/IMAGE.CCN.6-2.1 ISSUEISSUE 6-2,6-1, 2015 2015 ·· 5 INTRODUCTION DORIS HAMBUCH wo of the critical essays are island-specific, Ricardo Arribas departs from Édouard Glissant’s providing surveys of production efforts concept of the “Poetics of Relation” to advocate in Puerto Rico and Jamaica, respectively. cross-Caribbean film studies in “Más allá de TMaria Cristina Rodríguez scrutinizes landmarks la fascinación y el horror: hacía una estética of Puerto Rican film production throughout the relacional del cine caribeño” (Beyond Fascination nascent 21st century. She further traces the debt and Horror: Towards an ‘Aesthetics of Relation’ of young Puerto Rican filmmakers to their late- in Caribbean Cinema). Aided by thoughtful 20th-century predecessors in “The Island Image and revealing analyses of representative films by and Global Links in Puerto Rican Cinema of the Félix de Rooy, Fernando Pérez, Fránces Negrón 21st Century.” Sabrina Ceccato’s essay “Cinema Muntaner and Luis Molina Casanova, he suggests in Jamaica—Legacy of The Harder They Come” that Caribbean film criticism better captures underlines the legacy of one particular predecessor the region’s emancipatory potential in light of a for Jamaican filmmakers. Perry Henzell’s The relational film aesthetics. A French translation Harder They Come (1972) is still a model for of this essay will follow
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