Date: Fri, 10 Feb 1995 02:59:09 -0500 From: XTROT666-AT-aol.com Subject: Re: Culture, hegemony, et al. I think Tom Condit is right about the difference between filmmakers in Cuba (or the "socialist" countries) as opposed to novelists. The former relies on resources not open to an individual, while the latter needs only a typewriter and an agent abroad, which was true of many of the Cuban exile writers in the early sixties and seventies, who had already published abroad. Cuban films have always been contentious. I made this point recently to Siskel and Ebert, after they gave a favorable review to Tomas Alea's wonderful film STRAWBERRY AND CHOCOLATE (not to be missed), but suggested that the director, Alea, must be in jail by now or in hiding. Tom is also right about Cuban authorities giving film makers a semi-free hand. Unlike Soviet bloc film makers, who had to get prior approval, Cuban directors could, for the most part, go ahead with their film projects. They only face trouble AFTER the film is made (i.e., Alice in Wondertown). Tom also wrote: >I suspect there might be ulterior motives related to foreign currency and prestige involved, but let's skip the motives. The fact is, there's a lot of incentive for film makers to stay in Cuba where they have support, as opposed to jumping to another country where they might be subject to just as much red tape and censorship (mostly corporate rather than governmental), without any guarantee of financial support.< The above is true, although there were many cases of writers (like Edmondo Desnoes), who could not reasonably be desribed as "counter-revolutionary", who were put through the meat-grinder. Castro and co. could have kept the support of it's best writers a lot longer than it did, but preferred to start cleaning ideological house right after they felt they no longer needed the strong support of foreign writers, like Graham Green and Susan Sontag (i.e., foreign oppinion makers) in the face of a US invasion. As far as the attraction of foreign currency to novelists, it might be somewhat parallel to the attraction of privilege that being a film maker in Cuba represents, as opposed to being just another struggling director in the US. I'm not doubting the Cuban director's motives (both revolutionary and individual), but it seems a bit strange for the government to harass a novelist into exile, then claim that he was a counter revolutionary individualist for leaving, especially if he were involved in something as collective as a literary suppliment. Interestingly enough, however, Cuban boxers (who are very good) always give credit to their trainers, other boxers and their country, whereas American boxers tend to give credit only to themselves (or Allah). >for those who work in fields which require buildings, finance and large numbers of (paid) colleagues, the situation in ballet, classical music, "folkloric arts" and cinema has been far better than in this country. Why would anyone except a few superstars want to leave?< Good point. East Germany had some wonderful film makers (operating under strict censorship) who turned out some of the best political films I have ever seen. Some of them left, but few found open (financial) arms in West Germany. I have no idea what has happened to them. The East German playwrite Heiner Muller was asked why he stayed in East Berlin when it took about fifteen years for a play of his to make it through the censors and be given approval for production. He pointed out that everything he (or others) wrote in East Germany was important, whereas in the West you can write anything but it is buried under an avalanche of meaningless, pre-approved garbage: Control of information using the market to sort out mass quantities. One last thing. In my last email I implied that Alfredo Guevera was homosexual. I meant the snide remark for Alberto Guevara, Fidel's friend and notorious homosexual, who was never even harrassed by the security forces. I appologize to Alfredo, who would probably be offended by my insinuation. Don Kenner --- from list marxism-AT-lists.village.virginia.edu --- ------------------
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