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UCLA UCLA Electronic Theses and Dissertations Title Cuban Cinema in a Global Context: The Impact of Eastern European Cinema on the Cuban Film Industry in the 1960s Permalink https://escholarship.org/uc/item/6vg1k3p8 Author Matuskova, Magdalena Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Cuban Cinema in a Global Context: The Impact of Eastern European Cinema on the Cuban Film Industry in the 1960s A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Hispanic Languages and Cultures by Magdalena Matuskova 2017 © Copyright by Magdalena Matuskova 2017 ABSTRACT OF THE THESIS Cuban Cinema in a Global Context: The Impact of Eastern European Cinema on the Cuban Film Industry in the 1960s by Magdalena Matuskova Doctor of Philosophy in Hispanic Languages and Cultures University of California, Los Angeles, 2017 Professor Jorge Marturano, Chair The study analyzes how the socialist bloc film industry integrated Cuba in socialist internationalism, and how Cuba benefited from and resisted that integration. I argue that negotiating two competing narratives – socialist internationalism (solidarity) and the Cuban anti- neocolonialism (sovereignty) – affected this cultural exchange. Cubans enjoyed the material benefits of socialist solidarity, but strongly resisted when it threatened their decision-making. As a result of this, Cuba downplayed the importance of the socialist bloc aid for its film industry, even though the socialist bloc contributed significantly to its development. The socialist bloc also played a role in the formation of the cinematic narrative of the Cuban Revolution through films that represented the “new” Cuba. Filmmakers attempted to integrate Cuba in the narrative of socialist internationalism, capitalizing on shared enemies like imperialism and the bourgeoisie, although these enemies and conflicts did not have the same significance for all parties. ii The study reconstructs a cultural history of collaboration between Cuba, Czechoslovakia, the GDR and the USSR in the 1960s, using three co-productions as case studies: the Soviet Soy Cuba (Kalatozov, 1964), the Czechoslovak Para quién baila La Habana (Čech, 1962) and the East German Preludio 11 (Maetzig, 1964). I explore understudied and unpublished primary sources from archives in the Czech Republic and Germany, regarding the films’ conception, production, and reception. I also study film press reviews to assess the films’ historical value and add oral histories to cover the gaps in archival documentation. I conclude that distinct visions of socialist internationalism informed the three countries’ relationships with Cuba. While all three countries contributed material support and training, and their documentaries were praised in Cuba for reflecting the ideals that Cuban leaders wanted to broadcast, the three co-productions were rejected for not fulfilling the Cuban people’s expectations. Cubans were wary of the political ambiguities the films had introduced, worried that they might destabilize the official narrative of the Cuban Revolution. My dissertation reveals that although the films were dismissed for their Eurocentric gaze and lack of authenticity, they demonstrate the filmmakers’ capacity to understand the Cuban Revolution and connections it had with their own socialist reality. iii The thesis of Magdalena Matuskova is approved. Randal Johnson Adriana Bergero Efraín Kristal Raúl Fernández Jorge Marturano, Committee Chair University of California, Los Angeles 2017 iv ACKNOWLEDGMENTS This dissertation would not have been possible without the contribution of many people and institutions, whom I would like to thank here. First, I must thank my advisor, Jorge Marturano, for his invaluable support throughout these six years, for his advice and insights, and for always being available when I needed him. I would also like to thank the other members of my committee, Efraín Kristal, Randal Johnson, Adriana Bergero, and Raúl Fernández, for their support and suggestions. In addition, I want to express my gratitude to Roman Koropeckyj from the UCLA Department of Slavic, East European and Eurasian Languages and Cultures and Josef Opatrný from the Institute of Latin American Studies at Charles University in Prague for their encouragement and discussions. I also want to acknowledge the following UCLA funds that financed my research trips to the Czech Republic, Cuba, Germany, and Poland: the Ben and Rue Pine Travel Award, the International Institute Fieldwork Fellowship, the Latin American Institute Summer Travel Grant, and the UCLA Graduate Division Pilot Travel Grant. I would also like to thank the Graduate Division for awarding me the Graduate Research Mentorship and Dissertation Year Fellowship, which allowed me to dedicate myself full time to writing. I am indebted to many people in the Czech Republic, Poland and Cuba for their help. In the Czech Republic, I wish to thank especially the National Film Archive team in Hradištko – Tomáš Lachman, Marcela Týfová and Jiří Kutil – who enabled me to study the materials and patiently prepared boxes and boxes of documents. Their aid was key for most of my v discoveries. I would also like to thank Matěj Kadlec from the Film Studios Barrandov Archive who has tirelessly looked up data about technicians and filmmakers who traveled to Cuba. In Poland, Krzysztof Smolana from Archiwum Akt Nowych for his archival as well as translation help and Katarzyna Dembicz for her contacts and advice. I am indebted to all my informants in the Czech Republic, Poland and especially in Cuba. My thanks go especially to Arturo Sotto and Fernando Pérez Paredes, whose contacts, guidance and long conversations have been invaluable. I am grateful to Carlos Béquet, Tony Rodríguez, Francisco Cordero and others who patiently answered all my questions. In conclusion, I would like to extend my gratitude to my parents, Radmila and Luděk Matuškovi, for their support. My special thanks go to my husband Raúl Ávila who not only patiently answered my questions about films and Cuba but was also incredibly patient during my long research travels since 2012 and almost complete “seclusion” the last four or five months before the dissertation defense. In addition, I want to thank to my friends and colleagues Rafael Mendoza, Michael Lavery, Dan Whitesell and the cohort of UC Cuba for our intellectual discussions about my dissertation and other scholarly topics. It made my work more productive and enjoyable. vi TABLE OF CONTENTS Abstract……………………………………………………………………………………………ii Committee Approval……………………………………………………………………………..iv Acknowledgements……………………………………………………………………………......v Table of Contents………………………………………………………………………………...vii Abreviations……………………………………………………………………………………..viii Vita ……………………………………………………………………………………………….ix Introduction………………………………………………………………………………………..1 Part 1: Cuba Meets Soviet Filmmakers………………………………………………………….51 Chapter 1: Soy Cuba: Solidarity and Sovereignty……………………………………………….52 Chapter 2: The “New” Soviet Union Meets the “New” Cuba: Defining the Cuban Cinematic National Identity through Soy Cuba………………………………………………………………...84 Part 2: Czechoslovak – Cuban Cinematic Collaboration……………………………………….133 Chapter 3: Cuba and Czechoslovak Cinematic Socialist Internationalism……………………..134 Chapter 4: Para Quién Baila La Habana: The Story of Convergences and Divergences……..172 Part 3: East German – Cuban Cooperation……………………………………………………..212 Chapter 5: The DEFA and the ICAIC: Parallel Histories and the First Joined Projects……….213 Chapter 6: Preludio 11: Different Visions, Different Narratives…………………………………..259 Epilogue………………………………………………………………………………………...311 Bibliography……………………………………………………………………………………317 vii ABBREVIATIONS AMZO – The Ministry of Foreign Affairs Archive CDR – Comité de la Defensa de la Revolución (the Committees of the Defense of the Revolution) CNC – Consejo Nacional de Cultura ČSF – Československý státní film (the Czechoslovak State Film) DEFA – Deutsche Film AG (German Film Corporation) EICTV - La Escuela Internacional del Cine de San Antonio de los Baños FRG – the Federal Republic of Germany FSB – Filmové studio Barrandov (Film Studios Barrandov) GDR – the German Democratic Republic GKKS - State Committee for Cultural Relations ICAIC – Instituto Cubano de Arte e Industria Cinematográficas ICAP - El Instituto Cubano de la Amistad con los Pueblos ICRT - Instituto Cubano de Radio y Televisión INRA – Instituto Nacional de la Reforma Agraria KF - Krátký film (Short Film) MŠK – Ministerstvo školství a kultury (the Ministry of Education and Culture)MY MZV – Ministerstvo zahraničních věcí (the Ministry of Foreign Affairs) NA – Národní archív (National Archive) NFA – Národní filmový archív (National Film Archive) PSP - Partido Socialist Popular SOZ – the Soviet Occupational Zone SSOD – the Union of Soviet Friendship Societies Territorial Departments UFA - Universum Film Aktiengesselschaft (Universum Film Corporation) UNEAC - Unión de Escritores Cubanos viii VITA Education Ph.D. in Hispanic Languages and Literatures, UCLA, Los Angeles June 2017 Candidate in Philosophy March 2015 Dissertation Title: Cuban Cinema in Global Context: The Impact of Socialist Bloc Cinema on the Cuban Film Industry in the 1960s Ph.D. in Latin American History, Charles University, Prague June 2017 Dissertation Title: Czechoslovak – Cuban Relationships in Film in the 1960s Master of Arts in Spanish Philology,
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