A post-revolutionary childhood: Nostalgia and collective memory in Viva Cuba

Seminet, Georgia

doi:10.1386/shci.8.2.189_1

Cited by 5 publications

(1 citation statement)

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“…This combination of banal with hot nationalism exists alongside a tactical mix of ‘universal’ and particular details. As Georgia Seminet notes in her perceptive article on Viva Cuba 's child protagonists as overdetermined symbols of national nostalgia as well as futurity, the film combines ‘the cultural and historical specificity of Cuba’ with ‘the country's uncertain future in the global economy’ (Seminet, : 190), and a similar combination is evident in Habanastation . On the one hand, transnational coproduction and plans for international distribution may encourage an emphasis on what is deemed to be universal, making the films accessible to all ages and nationalities.…”

Section: Tactics and Strategies: Bourdieu And De Certeaumentioning

confidence: 99%

Not Child's Play: Tactics and Strategies inViva CubaandHabanastation

Fehimović

2015

Bull Latin American Res

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Recognition of the national and international contexts in which VivaCuba (Juan Carlos Cremata, 2005) and Habanastation (Ian Padron, 2011) were made and marketed highlights the coexistence of a pragmatic, tactical approach to filmmaking with the expression of specific, national concerns. Indeed, the two elements are inextricable, since both directors exploit the association of children with universality and the apolitical in order to pursue both personal and national goals, so that these films for children, about children must be seen not as child's play but as contracandelas: strategic and affective responses to uncertainty and threat.

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Section: Tactics and Strategies: Bourdieu And De Certeaumentioning

confidence: 99%