Description
Book SynopsisTomás Gutiérrez Alea’s
Memories of Underdevelopment (1968) is a classic of Cuban revolutionary culture, and is hailed as a prime example of a radical style of 1960s political filmmaking that became known worldwide as Latin American “new cinema.” Darlene J. Sadlier’s detailed study approaches this much-written-about film from a new perspective. Her analysis situates the film in its historical context, considering how Cuban political history affected and informed the production of the film, particularly its use of archival footage. She discusses the film as an adaptation of Edmundo Desnoes’s novel
Memorias del subdesarrollo (1965), exploring how the novel itself is “re-written” in significant ways by the film. Sadlier goes on to analyse the curious opening of the film on an outdoor scene of Afro-Cubans dancing to the “new” music of Pello del Afrokán, arguing that this opening scene prefaces the film’s exploration of both class and race. She focuses on the unique style of the film, particularly the use of voiceover, music and documentary footage to show how the themes of ennui, isolation, writing, and remembering are depicted. In doing so, she highlights the film’s lasting impact and its role in defining Latin American “new cinema”.
Trade ReviewTomás Gutiérrez Alea's 1968 classic ...
Memories of Underdevelopment was designed to challenge even viewers of its own time and place. Those far from both are likely to find it indecipherable, without some help. Thus, for today's English language-speaking cinephiles, the BFI Film Classics series has done a great service in turning its attention, and that of film scholar Darlene J. Sadlier, to this exemplar of the Latin American Third Cinema movement. * Cineaste Magazine *
Table of ContentsAcknowledgments Introduction 1. Some Historical and Cinematic Contexts 2. Alea as Auteur 3. A Novel and Its Translation 4. Portrait of a Nobody 5. Sergio and Women 6. The Intellectual and the Revolution 7. The Intellectual and the Law 8. Cuba in Crisis 9. A Note on Reception Notes Credits Bibliography
