The Aesthetics of Cuban Cinema achieved by Imperfect Technology –With focus on Post-Revolutionary Avant-garde films-
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The development of modern capitalism and industrial technology brought about various artistic trends. In particular, the postwar European avant-garde films, which were characterized as anti-Hollywood, had pursued artistic experiments with self-reference and self-reflection. Unlike the artistic European films and industrial Hollywood films, new film movements took place in various regions. Each film movement had developed independently of Western art history reflecting its national and political identity. In the third world, which was technically incomplete as compared with the industrialized western world, it created a unique cinematic aesthetic due to the imperfectness of technology. Latin American cinema, especially the post-revolutionary Cuban films have achieved cinematic accomplishments that are completely different from western films in all aspects, including form, content, production method, and political orientation. Defining itself as an imperfect cinema, it undermined the existing boundaries such as fiction and nonfiction, relationship between film producers and consumers, and created a new cinematic grammar due to incompleteness of technology. Imperfect cinema was embodied in proposal of Octavio Getino and Fernando Solanas. Its works include The Other Francisco (Sergio Giral, 1975) and Memories of Underdevelopment (Tomas Alea, 1968). In this paper, I study the production style, aesthetics, and cinematic achievements of Cuban imperfect cinema by analyzing two films in depth.
Abstract
The development of modern capitalism and industrial technology brought about various artistic trends. In particular, the postwar European avant-garde films, which were characterized as anti-Hollywood, had pursued artistic experiments with self-reference and self-reflection. Unlike the artistic European films and industrial Hollywood films, new film movements took place in various regions. Each film movement had developed independently of Western art history reflecting its national and political identity. In the third world, which was technically incomplete as compared with the industrialized western world, it created a unique cinematic aesthetic due to the imperfectness of technology. Latin American cinema, especially the post-revolutionary Cuban films have achieved cinematic accomplishments that are completely different from western films in all aspects, including form, content, production method, and political orientation. Defining itself as an imperfect cinema, it undermined the existing boundaries such as fiction and nonfiction, relationship between film producers and consumers, and created a new cinematic grammar due to incompleteness of technology. Imperfect cinema was embodied in proposal of Octavio Getino and Fernando Solanas. Its works include The Other Francisco (Sergio Giral, 1975) and Memories of Underdevelopment (Tomas Alea, 1968). In this paper, I study the production style, aesthetics, and cinematic achievements of Cuban imperfect cinema by analyzing two films in depth.
참고문헌 (12)
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