The ports of desire. Revolution and Cuban cinema

Abstract

In this paper we analyze the film by Cuban director Tomas Gutiérrez Alea
entitled Hasta cierto punto (1983), which addresses the relationship between a
woman working port and writer of a documentary on women workers. For our
study we review some sections of the itinerary of Gutiérrez Alea and development
of Cuban cinema since the sixties. First, we address the first film about the
beginnings of the Instituto Cubano de Arte e Industria Cinematográfica (ICAIC),
the short entitled Por primera vez (1968), in which the peasant audience that attends
the screening of register Tiempos Modernos (1936), which allows us to consider
a set of problems also present in the discourse of Hasta cierto punto. Second,
we analyze the relationship of Cuban cinema with new reflections on the cinema
made at international level by the filmmakers of the sixties and seventies. And
finally consider some issues resolved dramatically in Cuba, in what touches the
relationship between intellectuals and revolution, and especially the resistance
cinematically mandate to propose a model representing working class.