La mirada antropológica de Nicolás Guillén Landrián: subalternidad y diferencia en sus primeros documentales
Keywords:
cuban cinema, short documentaries, Nicolás Guillén Landrián, anthropology, revolution, marginalityAbstract
This article explores Nicolás Guillén Landrián’s early documentaries, shot
in the mid 60’s, as an expression of the spirit of resistance and plurality among marginal groups (black Cubans living in Havana and peasants from isolated eastern settlements) at a time in which the markers of a difference were seen as a threat to Castroism’s regularizing discourse. In these short films, Guillén Landrián introduced an anthropological perspective that focused on those social subjects to whom the utopian enthusiasm of the time ended up by excluding from the grand narrative of redemption fostered by the Revolution.
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Filmografía:
Café con Leche (2003), de Manuel Zayas.
Coffea Arábiga (1968), de Nicolás Guillén Landrián.
Desde La Habana: ¡1969! Recordar (1969-1971), de Nicolás Guillén Landrián.
En un barrio viejo (1963), de Nicolás Guillén Landrián.
Inside Downtown (2001), de Nicolás Guillén Landrián.
Los del baile (1965), de Nicolás Guillén Landrián.
Ociel del Toa (1965), de Nicolás Guillén Landrián.
Reportaje (1966), de Nicolás Guillén Landrián.
Retornar a Baracoa (1966), de Nicolás Guillén Landrián.
Taller de Línea y 18 (1971), de Nicolás Guillén Landrián.
Un festival (1963), de Nicolás Guillén Landrián.
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