El cine de Sara Gómez: una lectura sobre el contexto posterior a la revolución en Cuba
This article presents aspects of the cinema of the Cuban filmmaker Sara Gómez based on the analysis of some of the elements of her only feature film De cierta manera (1974). This film supports discussions about Cuban society in the post-revolution of 1959, social problems, conflicts and dichotomies...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2020 |
| País: | Brasil |
| Institución: | Universidade de São Paulo (USP) |
| Repositorio: | Cadernos PROLAM/USP |
| Idioma: | portugués |
| OAI Identifier: | oai:revistas.usp.br:article/169808 |
| Acceso en línea: | https://revistas.usp.br/prolam/article/view/169808 |
| Access Level: | acceso abierto |
| Palabra clave: | Cinema Sara Gómez Dichotomies Modernity Identities Dicotomias Modernidade Identidades Cine Dicotomías Modernidad Identidad |
| Sumario: | This article presents aspects of the cinema of the Cuban filmmaker Sara Gómez based on the analysis of some of the elements of her only feature film De cierta manera (1974). This film supports discussions about Cuban society in the post-revolution of 1959, social problems, conflicts and dichotomies between past values and traditions in the face of the ongoing transformation process. Although I consider that the film presents a discussion about the women’s role in Cuban Society in the 1970s, I propose a reflection on the issue of the crisis of identities in the modernizing process. |
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