{"id":15854,"date":"2024-11-06T02:43:18","date_gmt":"2024-11-06T02:43:18","guid":{"rendered":"https:\/\/festivaldecineinstar.com\/?page_id=15854"},"modified":"2024-11-08T01:54:10","modified_gmt":"2024-11-08T01:54:10","slug":"magazine-revista-eng","status":"publish","type":"page","link":"https:\/\/festivaldecineinstar.com\/en\/magazine-revista-eng\/","title":{"rendered":"MAGAZINE-REVISTA ENG"},"content":{"rendered":"\t\t
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Cover of Material Ghost magazine 1st. Number<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Material Ghost: Annual Film Magazine (N. 1, 2024)<\/strong><\/p>

Directors | Tania Bruguera and Carlos An\u00edbal Alonso<\/p>

Editors | Dean Luis Reyes and Jos\u00e9 Luis Aparicio<\/p>

Production | Leila Montero<\/p>

Cover design and illustrations | Claudia Patricia P\u00e9rez Olivera<\/p>

Translate | Emily Hunsburger (Tertulia)<\/p>

Editorial coordination, correction and layout | Rialta Ediciones<\/p>

Editorial Council | Jonathan Ali, Dunja Fehimovi\u0107, Eliecer Jim\u00e9nez Almeida, Nils Longueira Borrego, Isdanny Morales, Rafael Ram\u00edrez, Julio Ramos, Rafael Rojas<\/p>

ISBN| 9781961722316<\/p>

Publisher : Rialta Ediciones \/ Hannah Arendt Institute of Artivism (INSTAR)<\/p>

Publication | October 2024<\/p>

Number of pages | 202<\/p>

Format | 254 x 178 mm<\/p>

Binding | Paperback<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Index<\/h5>

Editorial<\/b><\/a><\/p>

Dossier: \u201cIdeas on Gilberto P\u00e9rez\u201d<\/b><\/p>

From Materiality to Eloquence \/ Andrian Martin<\/a><\/p>

The Material Ghost. Film and Their Medium \/ Gilberto P\u00e9rez<\/a><\/p>

Dossier: \u201cContemporary Cuban Cinema: Limits and Possibility\u201d<\/b><\/p>

Presentation<\/a><\/p>

\u00c1ngel P\u00e9rez<\/a><\/p>

Carlos Meli\u00e1n<\/a><\/p>

Carlos Quintela<\/a><\/p>

Dean Luis Reyes<\/a><\/p>

Dunja Fehimovi\u0107<\/a><\/p>

Eliecer Jim\u00e9nez Almeida<\/a><\/p>

Jonathan Ali<\/a><\/p>

Juan Carlos Rodr\u00edguez<\/a><\/p>

Miguel Coyula<\/a><\/p>

Walfrido Dorta<\/a><\/p>

Zaira Zarza<\/a><\/p>

Dossier: \u201cNicol\u00e1s Guill\u00e9n Landri\u00e1n\u201d<\/b><\/p>

Guill\u00e9n Landri\u00e1n: Documents in the Shadows \/ Rafael Rojas<\/a><\/p>

Ociel del Toa<\/i>: Queer Landri\u00e1n \/ N\u00e9stor D\u00edaz de Villegas<\/a><\/p>

The Uncanny Case of\u00a0Reportaje \/\u00a0<\/i>Ruth Goldberg<\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Editorial<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"IMAGEN\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Editorial<\/span><\/h3>

Fantasma Material (Material Ghost)<\/span><\/i> was born disturbing a specter: that of an unlocalized type of cinema, one that seeks its sovereignty of expression outside the fixed coordinates of form and production, one that is propelled toward self-invention by the desire to exist as a celebration of human imagination.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Dossier<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\u201cIdeas on Gilberto P\u00e9rez\u201d<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"21.\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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From Materiality to Eloquence<\/span><\/h3>

Adrian Mart\u00edn<\/p>

In the Rotterdam Film Festival of early 2024, a theme developed among a network of three films which all looked back, in different ways, to the Pan-African movements of liberation in the early 1960s. Billy Woodberry\u2019s <\/span>M\u00e1rio <\/span><\/i>was probably the best-publicised of the trio, due to the director\u2019s presence at the…<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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The Material Ghost. Film and Their Medium \/ Gilberto P\u00e9rez<\/span><\/h3>

Gilberto P\u00e9rez<\/span><\/p>

The Havana where I grew up was a great town for going to the movies. It was Havana in the fifties, under the dictator Batista, so it was not the best of times. But it was a good time and place for a kid to become a moviegoer. On the screens of my city movies from all over the world unfolded: we got all the movies from…<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Dossier<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\u201cContemporary Cuban Cinema: Limits and Possibility\u201d<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Presentation<\/span><\/h3>

For more than twenty years, Cuban cinema has been experiencing mutations (in its means of production, expressive dialects, themes, and styles). The total loss of the political and cultural autonomy of the Cuban film institute (Instituto Cubano del Arte e Industria Cinematogr\u00e1ficos – ICAIC), the worsening of the economic…<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00c1ngel P\u00e9rez<\/span><\/h3>

More than categories, I would like to talk about processes. In fact, I would even prefer to describe states. Alfonso Reyes used to say that names are transcendental. What are we talking about when we say “Cuban cinema?” Is there an ontological distinction between “Cuban cinema” and “Cuban audiovisual media?”…<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Carlos Meli\u00e1n<\/span><\/h3>

Mondays are D\u00eda del Espectador (Moviegoer’s Day) at movie theaters in the Gr\u00e0cia neighborhood in Barcelona. Tickets only cost 4 euros instead of 8. I’m not always able to go, but at the Verdi theater you can see works by the most interesting filmmakers from all across the cinematographic panorama…<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Carlos Quintela<\/span><\/h3>

Cuban cinema, with its limited annual output, is like a raft struggling to stay afloat in the middle of a storm in the Florida straits. Each of these films, valuable in their own right, takes on the challenge of capturing the vast and complex reality of a country that can’t fit into an hour and a half. This task is also a significant…<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Dean Luis Reyes<\/span><\/h3>

My primary interest is in locating Cuban cinema. It is clearly no longer found in the historical mode of institutional production that led to “ICAIC authorship,” as Michael Chanan [1] calls the space for creation that, with support from the State, obtained greater visibility and paved the way for master classes on national…<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Dunja Fehimovic<\/span><\/h3>

I’ve gone back and forth, but I plan to respond to these questions\u2014valid and valuable as they are\u2014by not responding. I’m not the right person to go out on a limb and attempt to describe current Cuban cinema. But even more so, I’m not sure how much it interests me. I’ll try to explain what I mean. I’m thinking about…<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Eliecer Jim\u00e9nez Almeida<\/span><\/h3>

Cuban cinema, like Cuba itself, is slipping away. It’s a vague sort of slipping away that crosses all kinds of borders. This prolonged slipping away, which began in 1959, has continued until the current day, becoming especially acute in the last 10 years, during which the mass exodus of filmmakers has created remarkable…<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t3-Arrow Right<\/title><\/path><\/g><\/svg>\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\tGo to article<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Jonathan Ali<\/span><\/h3>

In 2006 I became a programmer for the newly founded Trinidad and Tobago Film Festival. It was exciting to be a part of this initiative in my native country. For far too long, cinema there had meant one thing\u2014Hollywood\u2014and here was an intervention seeking to rupture the status quo. In addition to bringing to audiences…<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Juan Carlos Rodr\u00edguez<\/span><\/h3>

After spending a few years collecting dust in the archives, the films of Nicol\u00e1s Guill\u00e9n Landri\u00e1n (also known as \u201cNicolasito\u201d) began to be seen again at the beginning of the current century. More than one critic has recognized the importance of this moment for contemporary Cuban cinema. [3] Without a doubt, the return of…<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Miguel Coyula<\/span><\/h3>

It’s wrong to judge Cuba’s independent cinema the way that independent cinema from First World countries is judged, since totalitarian cultural policies don\u2019t exist in those countries. Even if the funding for a film made in Cuba comes from other countries, having a production credit from the Cuban film institute…<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Walfrido Dorta<\/span><\/h3>

The sentence that serves as the first part of the title of this text is (almost) obviously ironic (it’s a distortion of what Manuel V\u00e1zquez Montalb\u00e1n said about Francoism). The quote cannot be attributed to any filmmaker or film critic, but we can imagine a moment in which it might be said. It is a hypothetical moment…<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Zaira Zarza<\/span><\/h3>

In current times, Cuban filmmakers are experiencing and interpreting the affective and emotional significance of exile in different ways. Melinda Meyer DeMott defines “emotional exile” as when emigrants can legally return to their country of origin, but due to the radical cultural shifts they undergo while living…<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Dossier<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Nicol\u00e1s Guill\u00e9n Landri\u00e1n<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"05.\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Guill\u00e9n Landri\u00e1n: Documents in the Shadows \/ Rafael Rojas<\/span><\/h3>

Rafael Rojas<\/p>

In recent years in Cuba, there has been a revived interest in the work of Cuban filmmaker Nicol\u00e1s Guill\u00e9n Landri\u00e1n (1938-2003). In 2003, the year Guill\u00e9n Landri\u00e1n died in Miami, in Havana filmmaker Manuel Zayas made a documentary about him, <\/span>Caf\u00e9 con leche<\/span><\/i> (2003), produced by the Fundaci\u00f3n del Nuevo Cine…<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Ociel del Toa: Queer Landri\u00e1n \/ N\u00e9stor D\u00edaz de Villegas<\/span><\/h3>

N\u00e9stor D\u00edaz de Villegas<\/span><\/p>

Roberto Valera’s impressionist musical score for Nicol\u00e1s Guill\u00e9n Landri\u00e1n’s film <\/span>Ociel del Toa<\/span><\/i> invokes, from the very first scene, the spirit of Claude Debussy’s poem <\/span>L\u2019apr\u00e8s-midi d\u2019un faune <\/span><\/i>(<\/span>Prelude to the Afternoon of a Faun<\/span><\/i>).\u00a0 The soundtrack underpins the image of the film’s protagonist, a young man from Cuba’s…<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"IMAGEN\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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The Uncanny Case of Reportaje \/ <\/i>Ruth Goldberg<\/span><\/h3>

Ruth Goldberg<\/span><\/p>

Twelve years after his death and resurrection, Nicol\u00e1s Guill\u00e9n Landri\u00e1n is now recognized as a vital innovator in the history of Cuban cinema; inspiring an outpouring of homage among the younger Cuban documentarians who have reclaimed his legacy. The claim that \u201cAlvarez, who knows everything, teaches…<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Cover of Material Ghost magazine 1st. Number Material Ghost: Annual Film Magazine (N. 1, 2024) Directors | Tania Bruguera and Carlos An\u00edbal Alonso Editors | Dean Luis Reyes and Jos\u00e9 Luis Aparicio Production | Leila Montero Cover design and illustrations | Claudia Patricia P\u00e9rez Olivera Translate | Emily Hunsburger (Tertulia) Editorial coordination, correction and layout […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"site-sidebar-layout":"no-sidebar","site-content-layout":"","ast-site-content-layout":"full-width-container","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"disabled","ast-breadcrumbs-content":"","ast-featured-img":"disabled","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"class_list":["post-15854","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/festivaldecineinstar.com\/en\/wp-json\/wp\/v2\/pages\/15854"}],"collection":[{"href":"https:\/\/festivaldecineinstar.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/festivaldecineinstar.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/festivaldecineinstar.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/festivaldecineinstar.com\/en\/wp-json\/wp\/v2\/comments?post=15854"}],"version-history":[{"count":55,"href":"https:\/\/festivaldecineinstar.com\/en\/wp-json\/wp\/v2\/pages\/15854\/revisions"}],"predecessor-version":[{"id":16078,"href":"https:\/\/festivaldecineinstar.com\/en\/wp-json\/wp\/v2\/pages\/15854\/revisions\/16078"}],"wp:attachment":[{"href":"https:\/\/festivaldecineinstar.com\/en\/wp-json\/wp\/v2\/media?parent=15854"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}