DOCSLIB.ORG

Kinocuban: the Significance of Soviet and East European Cinemas for the Cuban Moving

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

KINOCUBAN The Significance of Soviet and East European Cinemas for The Cuban Moving Image Author: Vladimir Alexander Smith Mesa Degree Doctor of Philosophy University College London November 2011 1 I, Vladimir Alexander Smith Mesa, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 2 Abstract KinoCuban: The Significance of Soviet and East European Cinemas for the Cuban Moving Image examines a piece of evidence that has been misunderstood in the existing body of Cuban film studies. The first revolutionary legislation concerning the arts was the creation of the ICAIC in 1959, a fact that demonstrates the importance of cinema for the new cultural project. This thesis argues that the moving image was radically affected by the proclamation of the socialist character of the Revolution on 16 April 1961. What was it that the distant audiovisual culture, film theories and practices of the Soviet-bloc offered Cubans? Is it not the case that Soviet-bloc cinemas had an influence upon the shaping of the Cuban moving image, if one takes into consideration the very few films co-produced in 30 years? It should be stressed that during this period, the moving image was the direct or indirect effect of the different waves that arrived in Cuba from ‘the other’ Europe, which were born at the same time as the first films that were co-produced in the 1960s, particularly from the unique experience of Mikhail Kalatozov’s masterpiece Soy Cuba. The present study reveals that the most important outcome from that influence was the conceptualisation of the cinematic discourse of the Revolution, so well represented in ICAIC and its socialist films of commitment. The experience included the introduction of new practices in television in order ‘to de-colonize’ the moving image. KinoCuban analyses the impact on four main subjects: film theory and criticism; film administration; the filmmakers’ works (films, videos, and television practices) and the spectator. KinoCuban works within the area of postcolonial studies and takes Ortiz’s transculturation as its starting point. KinoCuban argues that the experience was a process of give and take, thus ‘lo exacto es hablar de continuidad’. 3 Acknowledgements This research is a reality thanks to many people and organisations within and outside University College London. My PhD thesis would not have been possible without the emphatic support and sincere friendship of Lic. Deborah Gil, a specialist at the Biblioteca Nacional José Martí, Havana, Cuba. I would also like to express my profound thankfulness to Enrique Pineda Barnet, Julio García Espinosa, Kurt Maetzig, Manuel Herrera, Aaron Yelín, Jana Bokova, Fernando Birri, Monika Krause, Lizette Vila, Tomás Piard, Arturo Sotto, Fernando Pérez, Želimir Žilnik, Loipa Araujo (Octavio Cortázar’s widow), Laura Estrems (Mario Rodríguez Alemán’s widow), Vicente Revueltas, Julio Matas, Miriam Gómez (Guillermo Cabrera Infante’s widow), Belkis Cuza Malè (Heberto Padilla’s widow), Mirta Ibarra (Tomás Gutiérrez Alea’s widow), Edmundo Desnoes, Vicente Ferraz, Sergio Giral, Alfredo Guevara, Roberto Fernández Retamar, Eusebio Leal, Prof. Enrico Mario Santí, Prof. Dina Iordanova, Dr. Jacqueline Loss, Dr. Jennifer Ruth Hosek, Dr. Theo Van Alst, Dr Jeremy Hicks, Dr. Jonathan Curry-Machado, Pauline Jones, Dr. Michael Jones, Lise Jones, Dr. Liz Mandeville, Maria Fernanda Ortiz (Fernando Ortiz’s daughter), Juan Carlos Betancourt, Pablo Conde, Patricia Bossio, Agustina Castro Ruz, Carlo Nero, Vanessa Redgrave and Dolores Calviño. My eternal gratitude goes out to the late: Titón, Humberto Solás, Pastor Vega, Octavio Cortázar, Adolfo Llauradó, Sergio Corrieri, Guillermo Cabrera Infante, Raquel Revuelta, José Antonio Portuondo, Julio Le Riverand, Vicente González Castro and to Alejo Carpentier, who taught me my first words in Russian when we were living in Paris. I will never forget his kindness to me. 4 I also wish to express my gratitude to my former colleagues at the Oficina del Historiador de la Habana, in particular to Lic.Raida Mara Suárez, Lic.Magaly Torres, Lic.Natacha Moreira and Lic.Ana Lourdes Insúa. A special thank-you goes to the ICAIC, Fundación del Nuevo Cine Latinoamericano, the International Film and TV School in San Antonio de los Baños (EICTV), the Biblioteca Nacional José Martí, the BFI Library, the LSE Library, the British Library, the Library of the Institute for the Study of the Americas (ISA), Canning House Library, Senate House Library-University of London, Fundación Fernando Ortiz and the ICRT staff and specialists, Irma Campoamor, Iratxe Gardoqui, Nigel Arthur, Christine Anderson, Maria Eulalia Douglas (Mayuya), Zoia Barash, Ambrosio Fornet and Sara Vega. I also feel indebted to Prof. Michael Chanan and Prof. Julian Graffy, who provided materials as well as encouragement, particularly concerning my first video work filmed in London, Una confusión cotidiana (2007). I would like to acknowledge the financial support of University College London. Different grants for specific project or research-related activities have been made available by the Graduate School Research Projects Fund, the UCL Spanish and Latin American Department and the UK Association for the study of Latin America (SLAS, Society for Latin American Studies), for library/archive research and also conference organising and attendance such as SLAS annual conferences and the international event Cuba-USSR and the Post-Soviet Experience, which took place in February 2007 at the University of Connecticut), among many others. My eternal gratitude goes to UCL Futures and the Bloomsbury Theatre for helping me to materialise my project: the UCL Festival of the Moving Image, an annual international celebration of audiovisual culture that was born from my PhD research,(http://www.ucl.ac.uk/news/news-articles/0811/08111704). 5 I am grateful for the generous support of UCL School of Slavonic and East European Studies (SSEES), in particular to Ms Lesley Pitman, SSEES Librarian, and UCL Library Services management, which enabled me to work in UCL-SSEES in the first place. It is difficult to express the depth of my gratitude to Isabel de Madariaga, Professor Emeritus of Slavonic Studies at UCL-SSEES and my line-manager, Head of SSEES cataloguing team, Ms Philippa H. Robins. I would like to thank my colleagues in UCL Library Services, particularly in UCL-SSEES Library for their help and support. I especially want to thank Dr Ursula Phillips, Dr Wojciech Janik, Gillian Long, Ann Smith, Cameron Bain, Andrea Zsubori, Patrycja Barczyńska, Genny Grim, Eleanor Brennan, Jorge Gallardo, Steve Sawle, Suzana Tamamović, Erika Panagakis, Zuzana Pinčíková, Maria Cotera, Toby Reynolds, Darko Nožić, Lenka Peacock and Vlasta Gyenes. I am grateful to them all. My gratitude also to UCL Language Centre, in particular to Simon Williams, academic writing courses co-ordinator, who helped me in editing and polishing the text of the thesis in the final stages. My PhD supervisors: Professor Stephen Hart (UCL-Spanish and Latin America Department) and Dr Philip Cavendish (UCL-SSEES Russian Department) deserve my highest recognition for their encouraging spirit, for their guidance throughout the research and for their approach in academic matters. Supportive in the most diverse ways were my relatives and friends in Britain and in Cuba, who followed the progress of my work with both patience and encouragement. My greatest thanks go to my mother Carmen and to my late father Gilberto, to my sister Soraya, to my brothers Miguel, Jorge, Roberto and Raúl, to my daughters, Arielle and Fernanda, and my wife Melanie; they all have long awaited this achievement and to whom I dedicate my PhD thesis research. 6 To my daughters Arielle Alexandra and Fernanda Danielle To my wife Melanie Jones To my late parents Gilberto Smith Duquesne and Carmen Mesa de los Santos, with whom I am not able to share the completion of this immense effort. 7 Table of Contents Acknowledgments Introduction …………………………………………….. 9 Chapter I ……………………………………………. 49 Pre-Revolutionary Cinematic Discourse Chapter II: The 1960s ……………………………………………. 81 The Emergence of the Socialist Cinema of the Cuban Revolution (Committed Films: Socialist in Content and National in Form) Chapter III: The 1970s ……………………………………………. 144 The Socialist Institutionalisation of the Moving Image Chapter IV: The 1980s …………………………………………… 223 KinoGlasnost and the Return of the Cuban Vernacular Conclusion …………………………………………… 275 Bibliography ….………………………………………… 295 Filmography …………………………………… ……… 312 Notes on languages and transliteration Apart from English and Spanish, the text of this PhD thesis contains words from Slavonic languages, particularly Russian, which are set in italic type. I have used the Library of Congress transliteration system for Cyrillic script. 8 Introduction The Most Important Art… ‘Una película debe ser alguna cosa de importancia cuando ustedes están tan interesados a ella; tiene que ser alguna cosa muy bonita y de importancia’ The above suggestion comes from a peasant woman, one of the one hundred people in the village of Los Mulos who saw a movie for the first time in April 1967. Her testimony is recorded in Por primera vez (For the First Time, 1967), a ten-minute black-and-white documentary directed by Octavio Cortázar.1 The documentary recalls one of the finest moments of the Cuban Revolution, ‘la campaña de alfabetización’ (the literacy campaign), when film art reached people living in some of the poorest and most isolated rural areas, who had until that time had been completely forgotten. In one sequence of the film the same woman explains that many people in the village do not have the chance to go to cinemas; certainly, previous governments had not been interested in showing films to them, from which it can be deduced that for the cultural mentors of the Revolution, cinema was of great significance, a movie: ‘tiene que ser alguna cosa muy bonita y de importancia’, she remarked. Sadly, we do not know the names of those who were interviewed. Nor were the names of those who formed the ‘cine móvil’ (mobile cinema) crews recorded for the benefit of posterity.
Recommended publications
  • Jiří Menzel Ostre Sledované Vlaky/ Closely Watched Trains 1966 93

    Jiří Menzel Ostre Sledované Vlaky/ Closely Watched Trains 1966 93

    October 16, 2007 (XV:8) Jií Menzel Ostre sledované vlaky/ Closely Watched Trains 1966 93 minutes Directed by Jií Menzel Written by Bohumil Hrabal (also novel), Jirí Menzel Produced by Zdenek Oves and Carlo Ponti Original Music by Jirí Sust Cinematography by Jaromír Sofr Film Editing by Jirina Lukesová Václav Neckár... Trainee Milos Hrma Josef Somr...Train dispatcher Hubicka Vlastimil Brodsk...Counselor Zednicek Vladimír Valenta...Stationmaster Max Alois Vachek...Novak Ferdinand Kruta... Masa's Uncle Noneman Jitka Bendová...Conducteress Masa Jitka Zelenohorská...Zdenka Nada Urbánková...Victoria Freie Libuse Havelková...Max's wife Kveta Fialová...The countess Pavla Marsálková...Mother Milada Jezková...Zdenka's mother Academy Award for Best Foreign Language Film JIÍ MENZEL (23 February 1938, Prague, Czechoslovakia) has directed 26 films and acted in many more. Some of the films he directed are Obsluhoval jsem anglického krále/ I Served the King of England (2006), Zebrácká opera/The Beggar’s Opera (1991), Konec starych casu/The End of Old Times (1989), Postriziny/Cutting it Short (1981), Promeny krajiny/Altered Landscapes (1974), Zlocin v dívcí skole/Crime at the Girls School (1965), and Domy z panelu/Prefabricated Houses (1960). from World Film Directors, Vol. II. Ed. John Wakeman. The H.W. Wilson Company NY 1988 Jií Menzel (February 12, 1938— ), Czech film and theatre director, scenarist, and actor, was born in Prague. He is the son of Josef Menzel, a journalist who became a children’s author and then turned to writing scripts for puppet
  • Beumers, Birgit (Ed.)

    Beumers, Birgit (Ed.)

    Beumers, Birgit (ed.). A Companion to Russian Cinema, The Wiley Blackwell Companions to National Cinemas, Wiley Blackwell, Chichester and Malden, MA, 2016. xvi + 656 pp. Illustrations. Notes. References. Appendix. Bibliography. Index. $195: £156 (hardback); $156.99: £140.99 (e-book). PART of The Wiley Blackwell Companions to National Cinemas series, the much anticipated A Companion to Russian Cinema is a rich and capacious volume. Edited by Birgit Beumers, one of the field’s most knowledgeable and indefatigable scholars, it comprises 25 newly commissioned chapters, written by leading experts and academics working in Russian cinema studies independently or at various American, British, Canadian, French, Hungarian and Russian institutions. In her helpful Introduction, which provides a concise survey of the state of the field and outlines the Companion’s scope and structure, Beumers acknowledges that attempting to provide a comprehensive account of the whole history of Russian cinema in the Companion would have been ‘ambitiously [to] aim at the impossible’ (p. 1). Instead, therefore, she elects to focus on the ‘task of “filling gaps”’ (p. 4), by including contributions that explore some of the significant films, periods, filmmakers and genres that have been ‘traditionally neglected in film histories and scholarship’ (p. 2). Divided into five thematically organized parts, the Companion thus seeks to provide ‘five alternative histories of Russian cinema’ (p. 16). Accordingly, within each part the chapters are arranged in a loosely chronological order, to convey a ‘sense of progression’ (p. 4). While each of the five parts does not cover the complete one-hundred-and-ten-year period since Russian feature filmmaking began, the Companion as a whole does broadly achieve this.
  • Download Thesis

    Download Thesis

    This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Representations of the Holocaust in Soviet cinema Timoshkina, Alisa Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 25. Sep. 2021 REPRESENTATIONS OF THE HOLOCAUST IN SOVIET CINEMA Alissa Timoshkina PhD in Film Studies 1 ABSTRACT The aim of my doctoral project is to study how the Holocaust has been represented in Soviet cinema from the 1930s to the collapse of the Soviet Union in 1991.
  • SOVIET YOUTH FILMS UNDER BREZHNEV: WATCHING BETWEEN the LINES by Olga Klimova Specialist Degree, Belarusian State University

    SOVIET YOUTH FILMS UNDER BREZHNEV: WATCHING BETWEEN the LINES by Olga Klimova Specialist Degree, Belarusian State University

    SOVIET YOUTH FILMS UNDER BREZHNEV: WATCHING BETWEEN THE LINES by Olga Klimova Specialist degree, Belarusian State University, 2001 Master of Arts, Brock University, 2005 Master of Arts, University of Pittsburgh, 2007 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2013 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Olga Klimova It was defended on May 06, 2013 and approved by David J. Birnbaum, Professor, Department of Slavic Languages and Literatures, University of Pittsburgh Lucy Fischer, Distinguished Professor, Department of English, University of Pittsburgh Vladimir Padunov, Associate Professor, Department of Slavic Languages and Literatures, University of Pittsburgh Aleksandr Prokhorov, Associate Professor, Department of Modern Languages and Literatures, College of William and Mary, Virginia Dissertation Advisor: Nancy Condee, Professor, Department of Slavic Languages and Literatures, University of Pittsburgh ii Copyright © by Olga Klimova 2013 iii SOVIET YOUTH FILMS UNDER BREZHNEV: WATCHING BETWEEN THE LINES Olga Klimova, PhD University of Pittsburgh, 2013 The central argument of my dissertation emerges from the idea that genre cinema, exemplified by youth films, became a safe outlet for Soviet filmmakers’ creative energy during the period of so-called “developed socialism.” A growing interest in youth culture and cinema at the time was ignited by a need to express dissatisfaction with the political and social order in the country under the condition of intensified censorship. I analyze different visual and narrative strategies developed by the directors of youth cinema during the Brezhnev period as mechanisms for circumventing ideological control over cultural production.
  • Puthisen Neang Kongrey 12 Sisters

    Puthisen Neang Kongrey 12 Sisters

    Puthisen Neang Kongrey 12 Sisters Ly Bun Yim After barely escaping the clutches of a man-eating witch, twelve Mit knapper Not einer garstigen Menschenfresserin entronnen, gelangen beautiful sisters arrive at the court of the king, who promptly zwölf schöne Schwestern an den Hof des Königs, der sie alle auf einmal marries all twelve of them. But their monstrous adversary heiratet. Doch das Ungeheuer nimmt die Gestalt einer attraktiven Frau an, takes the form of an attractive woman, bewitches the king and becirct den König und redet ihm ein, dass die Schwestern Hexen seien. Ih- persuades him that the sisters are witches. Their eyes are put res Augenlichts beraubt, werden sie in eine Höhle verbannt, wo sie überle- out and they are banished to a cave, where they only survive by ben, indem sie die eigenen Kinder verspeisen. eating their own offspring. Lediglich Puthisen bleibt verschont und erweist sich als geschicktes Kind, Only Puthisen remains unharmed and turns out to be a most dem es gelingt, seine blinde Mutter und elf Tanten zu versorgen. Zu einem shrewd child, quite capable of looking after his blind mother stattlichen jungen Mann herangewachsen, gewinnt er das Vertrauen des and eleven aunts. Having grown up into a handsome young man, Königs und entrinnt einer List der bösen Stiefmutter, deren hübsche Toch- he wins the king’s trust and eludes his wicked stepmother’s ter Kongrey nun seine Frau wird. Die Rettung der zwölf Schwestern erfor- ploys, whose pretty daughter Kongrey is now to become his dert jedoch tragische Opfer. wife. Tragically however, rescuing the twelve sisters will not be Grausames Märchen, bukolische Folklore, naive Fantasy, höfisches Ränke- without casualties.
  • REPORT NO BULL-1964-29; 0E-14101 PUB DATE 64 NOTE 48P

    REPORT NO BULL-1964-29; 0E-14101 PUB DATE 64 NOTE 48P

    DOCUMENT RESUME ED 053 022 SO 001 547 AUTHOR Apanasewicz, Nellie; Rosen, Seymour M. TITLE Soviet Education: A Bibliography of English-Language Materials. INSTITUTION Office of Education (DHEW), Washington, D.C. REPORT NO BULL-1964-29; 0E-14101 PUB DATE 64 NOTE 48p.; Studies in Comparative Education Series DESC*Comparative Education; Annotated Bibliographies; Elementary Education; Higher Education; Reference Materials; Secondary Education EDRS PRICE EDRS Price MF-$0.65 HC-$3.29 IDENTIFIERS *Soviet Union ABSTRACT The purpose of this annotated bibliography is to provide researchers, analysts, teachers, and advanced students, interested in various aspects of Soviet education, with a body of reference materials covering the large number of relevant articles and monographs which have been published since the late 1950's. The bibliography includes 281 titles with a 36-title supplement, arranged alphabetically by authors within 78 subject categories; where necessary, cross-referencing is used. Although American authors are the primary sources, items by foreign authors, whose articles ate written in English or have been translated into English, are also included. A number of the English translations of articles and monographs by Soviet authors are the work of the Joint Publications Research Service, Office of Technical Services, U. S. Deaprtment of Commerce. A wide range of views is expressed in the annotated items, and their inclusion does not constitute endorsement by the Office of Education of any one point of view. The Soviet articles provide the researcher and serious scholar certain information not found in the other sources, as well as insight into the Soviet concept of the educational system.
  • Resolving the Debate on Public Funding for National Public Radio

    Resolving the Debate on Public Funding for National Public Radio

    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Seton Hall University Libraries GIAROLO_PUBLIC BROADCASTING 4/30/2013 8:27 AM Resolving the Debate on Public Funding for National Public Radio Andrew Giarolo* INTRODUCTION ......................................................................... 440 IN THE BEGINNING, ALL WAS DARKNESS ................................. 441 A. The Public Broadcasting Act of 1964 ....................... 442 B. The Attacks Begin; NPR Takes Action .................... 445 ALTERNATIVE SOLUTIONS ........................................................ 447 Alternative I: Revive the Fairness Doctrine ................. 447 Alternative II: Implement the Fairness Doctrine Solely for All Federally-Funded Programs so that Allegations of Bias Can Be Minimized ................... 452 Alternative III: Direct Broadcast License Fees Directly to an Independent, Regulatory Trustee that Directly Subsidizes Public Broadcasting ........ 455 CONCLUSION ............................................................................ 459 * J.D. Candidate 2013, Seton Hall University School of Law. The author wishes to thank Professor Ronald Riccio for valuable input and his loving wife, Laura, for her support and the temporary loan of her great intellect and common sense. 439 GIAROLO_PUBLIC BROADCASTING 4/30/2013 8:27 AM 440 Seton Hall Journal of Sports and Entertainment Law [Vol. 23.2 It is axiomatic that one of the most vital questions of mass communication in a democracy is the development of an informed public opinion through the public dissemination of news and ideas concerning the vital public issues of the day. It is the right of the public to be informed, rather than any right on the part of the Government, any broadcast licensee or any individual member of the public to broadcast his own particular views on any matter, which is the foundation stone of the American system of broadcasting.1 INTRODUCTION Public funding for National Public Radio (“NPR”) has come under fire, yet again.
  • Soviets in the Countryside: the MST’S Remaking of Socialist Educational Practices in Brazil

    Soviets in the Countryside: the MST’S Remaking of Socialist Educational Practices in Brazil

    Chapter 4 Soviets in the Countryside: The MST’s Remaking of Socialist Educational Practices in Brazil Rebecca Tarlau Once the revolution happens in the schools, people can make the revolution in the streets, however this link is not always necessary. In China, in Cuba, in Russia, without going through the schools, people were able to create a revolution in the streets. But, in a country like Brazil it is necessary to create a minimum general critical consciousness, a universal citizenship and a collective desire for radical change in order to achieve the utopia of constructing a new society that either becomes a reformed socialism or a revolutionary socialism. I prefer the latter alternative. —Florestan Fernandes (Brazilian sociologist), quoted on the fi rst page of an MST publica tion, Principles of education in the MST (MST 1999 ) Three hundred people pushed to fi t into a majestic room, located in the House of Culture in the town center of the city of Veranópolis. This relatively wealthy city of Italian and German immigrants, located between the mountains in the northeast part of Rio Grande do Sul, is not the most obvious choice of location for the discussion and implementation of socialist educational alternatives. The city is most widely known for having the highest life expectancy in Brazil and for its delicious wine. However, among militants 1 working with social movements that are trying to address issues of poverty and exploitation in Brazil, and especially among those interested in how schools can be part of this process, the city has a different meaning.
  • Frank Mankiewicz Oral History Interview – RFK #2, 7/10/1969

    Frank Mankiewicz Oral History Interview – RFK #2, 7/10/1969

    Frank Mankiewicz Oral History Interview – RFK #3, 8/12/1969 Administrative Information Creator: Frank Mankiewicz Interviewer: Larry J. Hackman Date of Interview: August 12, 1969 Place of Interview: Bethesda, Maryland Length: 91 pp. Biographical Note Mankiewicz was director of the Peace Corps in Lima, Peru from 1962 to 1964, Latin America regional director from 1964 to 1966 and then press secretary to Senator Robert F. Kennedy from 1966 to 1968. In the interview Mankiewicz discusses Robert Kennedy’s relationship with President Johnson and the Johnson administration, the foreign and domestic press, Robert Kennedy’s speech on Vietnam and campaigning, among other issues. Access Restrictions No restrictions. Usage Restrictions According to the deed of gift signed March 1, 2000, copyright of these materials has been assigned to the United States Government. Copyright The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be “used for any purpose other than private study, scholarship, or research.” If a user makes a request for, or later uses, a photocopy or reproduction for purposes in excesses of “fair use,” that user may be liable for copyright infringement. This institution reserves the right to refuse to accept a copying order if, in its judgment, fulfillment of the order would involve violation of copyright law. The copyright law extends its protection to unpublished works from the moment of creation in a tangible form.
  • State of Ambiguity: Civic Life and Culture in Cuba's First Republic

    State of Ambiguity: Civic Life and Culture in Cuba's First Republic

    STATE OF AMBIGUITY STATE OF AMBIGUITY CiviC Life and CuLture in Cuba’s first repubLiC STEVEN PALMER, JOSÉ ANTONIO PIQUERAS, and AMPARO SÁNCHEZ COBOS, editors Duke university press 2014 © 2014 Duke University Press All rights reserved Printed in the United States of America on acid-f ree paper ♾ Designed by Heather Hensley Typeset in Minion Pro by Tseng Information Systems, Inc. Library of Congress Cataloging-in-Publication Data State of ambiguity : civic life and culture in Cuba’s first republic / Steven Palmer, José Antonio Piqueras, and Amparo Sánchez Cobos, editors. pages cm Includes bibliographical references and index. isbn 978-0-8223-5630-1 (cloth : alk. paper) isbn 978-0-8223-5638-7 (pbk. : alk. paper) 1. Cuba—History—19th century. 2. Cuba—History—20th century. 3. Cuba—Politics and government—19th century. 4. Cuba—Politics and government—20th century. 5. Cuba— Civilization—19th century. 6. Cuba—Civilization—20th century. i. Palmer, Steven Paul. ii. Piqueras Arenas, José A. (José Antonio). iii. Sánchez Cobos, Amparo. f1784.s73 2014 972.91′05—dc23 2013048700 CONTENTS Introduction: Revisiting Cuba’s First Republic | 1 Steven Palmer, José Antonio Piqueras, and Amparo Sánchez Cobos 1. A Sunken Ship, a Bronze Eagle, and the Politics of Memory: The “Social Life” of the USS Maine in Cuba (1898–1961) | 22 Marial Iglesias Utset 2. Shifting Sands of Cuban Science, 1875–1933 | 54 Steven Palmer 3. Race, Labor, and Citizenship in Cuba: A View from the Sugar District of Cienfuegos, 1886–1909 | 82 Rebecca J. Scott 4. Slaughterhouses and Milk Consumption in the “Sick Republic”: Socio- Environmental Change and Sanitary Technology in Havana, 1890–1925 | 121 Reinaldo Funes Monzote 5.
  • RUSSIAN SCIENCE and TECHNOLOGY STRUCTURE There Are Around 4000 Organizations in Russia Involved in Research and Development with Almost One Million Personnel

    RUSSIAN SCIENCE and TECHNOLOGY STRUCTURE There Are Around 4000 Organizations in Russia Involved in Research and Development with Almost One Million Personnel

    RUSSIAN SCIENCE AND TECHNOLOGY STRUCTURE There are around 4000 organizations in Russia involved in research and development with almost one million personnel. Half of those people are doing scientific research. It is coordinated by Ministry of industry, science and technologies, where strategy and basic priorities of research and development are being formulated. Fundamental scientific research is concentrated in Russian Academy of Sciences, which now includes hundreds of institutes specializing in all major scientific disciplines such as mathematics, physics, chemistry, biology, astronomy, Earth sciences etc. The applied science and technology is mainly done in Institutions and Design Bureaus belonging to different Russian Ministers. They are involved in research and development in nuclear energy (Ministry of atomic energy), space exploration (Russian aviation and space agency), defense (Ministry of defense), telecommunications (Ministry of communications) and so on. Russian Academy of Sciences Russian Academy of Sciences is the community of the top-ranking Russian scientists and principal coordinating body for basic research in natural and social sciences, technology and production in Russia. It is composed of more than 350 research institutions. Outstanding Russian scientists are elected to the Academy, where membership is of three types - academicians, corresponding members and foreign members. The Academy is also involved in post graduate training of students and in publicizing scientific achievements and knowledge. It maintains
  • Gualberto Ferrari

    Gualberto Ferrari

    Gualberto Ferrari Gualberto Ferrari has been internationally working as a screenwriter, documentary director and script consultant for thirty years. After studying law at UBA in Buenos Aires for two years, Gualberto Ferrari left Argentina due to the military dictatorship in 1978. He settled in Europe and “wandered” a few years in different countries (Sweden, England, France, Spain). He first started working as an independent journalist and film critic and later, as an assistant director for feature films with Christophe Cristoffis (Greece) and Emilio Vieyra (Argentina). In the 1980s and 90s, he co-wrote numerous feature film screenplays, including Tango mío and Hotel du paradis ( Cannes Film Festival 1997) with Jana Bokova, and, in 1996, a free adaptation of Diario para un cuento / Notes For A Story, a story by Julio Cortázar, which was awarded Best Adapted Screenplay Condor de Plata, Argentina, 1999. During the same period, he co-wrote numerous TV reports and scripts for feature-length documentaries and docudramas for ARENA on BBC 2, including Bahia From All The Saints (Special mention, Chicago Film Festival, 1994). As a co-director, he won the Grand Prize of the Golden Gate Awards at the San Francisco Film Festival for the 105-minute film Havanna in 1990.A year later, he won the same award as a co-writer for Argentinian Journey, three 60-minute films (Awarded at the San Francisco Film Festival 1991). For “Les Films d’ici” and Voyages he directed a series of contemporary artists film portraits in Thailand and Brasil in 2007/2008.He also directed a series of city portraits for the TV channel Paris Premiere from France.