Saturday May 26, 2018

Features

The Missing Screen, Part 2

Theater critic Norge Espinoza continues his look at the shifting relationship between Cuban theater and film in the decades since the revolution. In Part 1, he surveyed the 1950s and ’60s. Here, he continues with the 1970s, the theatrical revival of the 1980s and ’90s, and recent developments in the ongoing relationship between Cuban theater and film.

Film and Theater in Cuba: The Missing Screen, Part 1

In Cuba, says theater critic Norge Espinosa, there’s no consistent relationship between the worlds of theater and cinema. In an exclusive two-part essay, Espinosa analyzes the current state of affairs for CAN readers.

Opening Thursday: Havana Film Festival New York

On Thursday evening, the 13th annual Havana Film Festival New York kicks off with an opening night screening of Ian Padrón’s award-winning Habanastation, then wraps up with the New York premiere of Alejandro Brugués' cult-hit zombie movie Juan of the Dead. Between those screenings is a week studded with premieres, tributes, and other events highlighting Cuban cinema.

A Closer Look, Part 2: The Virgen de la Caridad del Cobre in Contemporary Cuban Art

In the first part of this article, art historians Sergio L. Fontanella Monterrey and Dennys Castellanos Mogena discussed the emergence of the Virgen de la Caridad del Cobre, the patron saint of Cuba, as a symbol evoked by several artists in the “Special Period” of the 1990s. Here, they continue with a further discussion of artists who have drawn on the image of the Virgen in their work.

Fernando Rodríguez, De la serie Sueño Nupcial: ¨En La Bodeguita del Medio¨ (Nuptial Dream series: In the café La Bodeguita del Medio), 1994

A Closer Look: The Virgen de la Caridad del Cobre in Cuban Contemporary Art, Part 1

With the visit of Pope Benedict XVI to Cuba, our thoughts have turned to the ways that religion has surfaced in contemporary Cuban art over the past two decades. In this two-part series, art historians Sergio L. Fontanella Monterrey and Dennys Castellanos Mogena of the University of Havana reflect on one of the island’s most beloved symbols and its influence on contemporary Cuban art.
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