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access to Frontiers: A Journal of Women Studies
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Catherine Benamou
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FRONTIERS, VOL. XV, NO. 1
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FRONTIERS, VOL. XV, NO. 1
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FRONTIERS, VOL. XV, NO. 1
much like her character Lucia in Lucfa's third segment; and, prior to
acting in Lucia, she had joined a women's agricultural brigade.7 At the
peak of their development, these films also coincided with a surge in
international recognition for Cuban cinema, and it has mainly been
through films such as Lucia and Portrait of Teresa that North American
and European audiences have come to associate women's quest for
equal status with the larger project of the Cuban revolution.
Up To a Point
54
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FRONTIERS, VOL. XV, NO. 1
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FRONTIERS, VOL. XV, NO. 1
Beatriz Valdds as the dutiful wife serving coffee in Jesds Diaz's Lejanta (1985).
This domestic ritual figures as a trope of patriarchy in Mujer transparente (seg-
ments directed by Mayra Segura and Hector Veitfa, 1990). Courtesy of Center
for Cuban Studies, New York, N.Y.
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FRONTIERS, VOL. XV, NO. 1
Subaltern Expressions
Until the early eighties, the solitary exception to the trend of films
by men was the work of Sara G6mez, who, in her early documentarie
and then with her first and only feature film, De cierta manera (One Way
or Another, 1974-1977), penetrated beneath the surface of the uniformly
national and into the realm of the subcultural. In G6mez's first docu-
mentary, IrW a Santiago (I'll Go to Santiago, 1964), a freely roving camera
strays away from colonial monuments into urban spaces intimately
inhabited by the local black population. There, it pauses respectfully
on doorsteps to be greeted by warm faces and proud silhouettes. By
recognizing the city as much for its human resilience and hospitality as
for its economic, political, or architectural legacy, G6mez makes a
claim for Santiago as a vibrant point of origin where (especially Afro-)
Cubans can recover their ties to a neglected cultural heritage.
57
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FRONTIERS, VOL. XV, NO. 1
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FRONTIERS, VOL. XV, NO. 1
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An Abakud ritual, originally practiced in the area now known as the African
Congo, is celebrated by Cuban men in one of the "documentary" segments of
Sara G6mez's De cierta manera (1974-1977). Courtesy of Center for Cuban Stud-
ies, New York, N.Y.
59
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FRONTIERS, VOL. XV, NO. 1
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Mario Balmaseda (as Mario) and Yolanda Cuellar (as Yolanda) come to grips
with their own social stigmas and their differences as a couple within the
larger process of the Cuban revolution in De cierta manera. Courtesy of Center
for Cuban Studies, New York, N.Y.
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FRONTIERS, VOL. XV, NO. 1
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FRONTIERS, VOL. XV, NO. 1
not have a "place" outside the experience of the individual subject por
trayed. When closely compared with the "men's films," the films in th
"women's wave" appear as a truly emergent form of discourse around
not just "gender" but the formation of a new revolutionary identity o
the one hand, and of a new film aesthetics on the other.
Occupying a central position within the national spheres of both
production and reception, the feature-length films by men in the lat
sixties and seventies filtered the terms of then-hot debates over gender
equality (indeed, how could they not?) into plots that integrated
women as historical protagonists into a "master narrative" of the revo-
lution. Through the development of women characters who, whether
socially regressive or progressive, projected unambiguous role models
as national cultural "types" (e.g., woman as sister-combatant), the gen
der problematic - at least for women - thus came to be reinscribed
within the realm of the national and ideological.
By contrast, the short documentaries by women, coming on the
heels of major legislation and the center stage debates, and elaborated
at the margins of the film institution, were able to loosen and even
break the "necessary" synecdoche character-collectivity/woman-natio
and offer in place of the resulting typage a more particularistic vision o
the challenges facing women. Paradoxically, this allowed for a broader
definition of social identity, one that would accomodate signs of racial
and ethnic difference (Rigoberta Menchd's Quich; the Yoruba ritual in
Yo soy Juana Bacallao; the references to Abakud in De cierta manera and
Buscando a Chano Pozo/Looking for Chano Pozo, by Rebeca ChAvez, 1988
Instead of a ready-made ideology, the references in the space-time of
the films to "imperfection" and "hesitation" (in some cases used to
demystify female public figures) have called attention to the contradic
tory forces at work in the process of subjectification. Instead of focusing
on the conflict within an individual self (as mainstream versions of fem
inist ideology would have it), they work to expose how the woman sub
ject is variously "produced," giving her - protagonist and viewer
the agency to produce herself in alignment with or against dominant
models of gender behavior.
What is at stake, then, is not only the articulation of "personal" and
"public" expression as distinct fronts of action in the search for gende
equality but a qualitatively different notion of subjectivity itself, on
that acknowledges, as in FMlix Guattari's definition, that it is "essen-
tially social, and assumed and lived by individuals in their particular
modes of existence" and at the same time contains the possibility for a
process of "singularization" to take shape - "a way of rejecting all pre
established forms of codification" through the reappropriation by th
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FRONTIERS, VOL. XV, NO. 1
E4gl
VI
Mario Limont
confidant in d
tesy of Cente
individual of
come to be e
may take man
the tensions
vectors of d
be resolved. This is so as much for a character like Mario in De cierta
manera, who is trying to abandon old, machismo-based codes of social
conduct to pave the way for an egalitarian love relationship and active
participation in a workers' society, as it is for his buddy Humberto, a
"socially regressive type" who relies on the code of male honor to pro-
tect his freedom to philander as well as bolster his possibilities of loaf-
ing on the job.
The priority given to singularization over ideology also leads to
the violation of certain boundaries concerning "realism" as the chosen
aesthetic for political narratives. Ironically, we do not find these
boundaries violated as forcefully in many of the men's fiction "films
about women." The need to experiment has led, in the work of Marisol
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FRONTIERS, VOL. XV, NO. 1
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FRONTIERS, VOL. XV, NO. 1
Notes
3. For women's participation in the other arts, see Margaret Randall, Women in Cuba:
Twenty Years Later (New York: Smyrna Press, 1981), 107-121; for changes in radio
and television programming, see Zayas and Largufa, "La Mujer," 68-69, 72.
4. See the table in Zayas and Larguia, "La Mujer," 90, that indicates that by 1981, 39
percent of producers, 32 percent of scriptwriters, 76 percent of editors, and 13 per-
cent of directors in Cuban national television were women.
5. The legislation and political problematization of these issues are discussed in detail
in Randall, Women in Cuba, Chapters 1 and 6, and Appendix 1. See also Marjorie
King, "Cuba's Attack on Women's Second Shift, 1974-1976," in Women in Latin
America (Riverside, Ca.: Latin American Perspectives, 1979), 118-131.
6. The full title of this thesis was "On the Full Exercise of Woman's Equality" - Sobre
el Pleno Ejercicio de la Igualdad de la Mujer (Havana: Departamento de Orientaci6n
Revolucionaria del Comitd Central del Partido Comunista de Cuba, 1976), and it
incorporated the findings of the Second Congress of the Federation of Cuban
Women in 1974.
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FRONTIERS, VOL. XV, NO. 1
8. See Mayra Vilisis, "La Mujer y el Cine: Apuntes para Algunas Reflexiones La
noamericanas," in La Mujer en los Medios Audiovisuales, 56.
9. Tomhis Gutidrrez Alea, quoted in "Tribute to Sara G6mez," in Cuba: A View Fr
Inside, 20. The importance to G6mez's shooting techniques of proximity to the su
ject and immersion in the world being filmed have also been commented on b
Cuban photographer Marucha Hernrndez, Cuba: A View From Inside, 18.
10. I am taking strong exception here to those who have read the denunciation o
machismo in association with the Abakud male "secret societies" in the film's archi-
val segments as a Manichaeistic condemnation of Afro-Cuban religious practices as
"counterrevolutionary." There are many other types of denunciation in the film
(some are directed even at the state apparatus), as well as sympathetic treatments of
Afro-Cuban culture, for example, in the scene where community dwellers are
shown worshiping Yoruba deities (santerfa) and in the symbolic, contrapuntal use of
"feeling" and guaguanc6 music on the sound track. See Osvaldo Sanchez Crespo's
comments on the latter in "The Perspective of the Present: Cuban History, Cuban
Filmmaking (One Way or Another by Sara G6mez)," in Reviewing Histories: Selections
from New Latin American Cinema, ed. Coco Fusco (Buffalo, N.Y.: Hallwalls Contem-
porary Arts Center, 1987), 204.
11. Benjamin uses these terms to refer to the fundamentally different modes of recep-
tion, or consumption, corresponding to two historically distinct phases in the pro-
duction and circulation of art: one in which individual viewers contemplate, or
allow themselves to be "absorbed" by, individual works, which, if they do not con-
stitute "original" creations in and of themselves, at least bear a traceable relation-
ship to an "original," thereby emitting an "aura" of authenticity; and one in which
the aura is "lost" due to the creation of the work through a process of mechanical
reproduction and its intended diffusion to a mass audience: the viewer can only
"absorb" the work in a distracted state. See Walter Benjamin, "The Work of Art in
the Age of Mechanical Reproduction," in Walter Benjamin, Illuminations, ed. Han-
nah Arendt (New York: Schocken Books, 1969), 220-223, 238-240.
12. See ibid., 228-231.
13. "The distracting element of [film] is ... primarily tactile, being based on changes of
place and focus which periodically assail the spectator." Ibid., 238. De cierta manera
thus embodies and elicits at the level of the text's narrative construction responses
that Benjamin linked only to the "external" or mechanical characteristics of the
medium, without referring to the possible impact of variations in narrative struc-
ture, formal properties, or content.
73
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FRONTIERS, VOL. XV, NO. 1
and decide - for the many and in which art is produced and circulated as a segre
gated arena of activity. Only the former can help develop the "characteristic" tas
and identity of a given people. See Espinosa in Fusco, ed. Reviewing Histories, 170
171. Clearly, De cierta manera exhibits a recognition of the notion that only through
"popular art" can issues around race and gender identity within the nation
sphere be fully addressed.
16. Sara G6mez did not live to see the completion of De cierta manera, the editing
which was completed under the supervision of Tombs Gutidrrez Alea, Julio Garc
Espinosa, and assistant director R. L6pez. For some critics, this has thrown th
authorship of the film into question, even though G6mez left explicit instructions as
to how she envisioned the completed text.
17. The new directors include Rebeca ChAvez, Miriam Talavera, and Mayra Vilisis
Garcia Espinosa, himself a filmmaker and film theorist, advocated mechanisms per
mitting both the renewal of the power structure and the kinds of films produced at
ICAIC throughout his administration as executive director, from 1982 to 1991. Se
Dennis West, "Reconciling Entertainment and Thought: An Interview With Julio
Garcia Espinosa," Cineaste XVI:1-2 (1987-1988): 20-26, 89. This new generation o
both men and women arrived after the technical and aesthetic foundations had
been laid by Santiago Alvarez in the sixties and had been elaborated upon by those
who made the ICAIC Latin American newsreel in the seventies, along with soon-to-
be directors Jesdis Diaz and Orlando Rojas. See Mercedes Santos Moray, "Aparte
con Rebeca ChAvez," Cine Cubano 122 (1988): 25-26. For a fuller discussion of docu-
mentary production in the postrevolutionary era, see Michael Chanan, The Cuban
Image (Bloomington: Indiana University Press, 1985), 148-202.
18. Although women occupied 55 percent of the technical and professional category in
Cuba in 1986, around the same time there were no women at all in the more techni-
cally specialized positions of cinematographer, assistant cinematographer, lighting
technician, or sound recordist at the national film studios; from Zayas and Largufa,
"La Mujer," 88, 91.
19. See ChAvez in Santos Moray, "Aparte," 27-28; see also interview with Miriam Tala-
vera in Cuba: A View From Inside, 38.
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FRONTIERS, VOL. XV, NO. 1
25. For more on the linkage between women's struggles to achieve self-affirmation an
socioeconomic equality and larger processes of social transformation, see Vilhsis
"La mujer y el cine," 52, 57.
26. Ibid., 51; my translation from the Spanish.
27. See Coco Fusco, "Films by Cuban Women: A Feminist Context?" in Cuba: A View
From Inside, 11-12.
28. In spite of the very definite historical and ideological differences between women'
filmmaking in the two countries, there are shared characteristics where documen-
tary is concerned, as suggested by critic/practitioner Julia Lesage's characterization
of U. S. feminist documentaries in the early seventies: "biography, simplicity, trust
between woman filmmaker and woman subject, a linear narrative structure."
Lesage, "The Political Aesthetics of the Feminist Documentary Film," Quarterly
Review of Film Studies 4 (Fall 1978): 508.
29. Fdlix Guattari and Suely Rolnik, Micropolitica: Cartografias do Desejo (Petr6polis, Bra
zil: Editora Vozes, 1986), 33 and 17, respectively.
30. Wilfredo Cancio Isla, "Marisol Trujillo ante el espejo." Trabajadores, Havana, Cuba
Thursday, November 1, 1984.
31. One of the more prominent early instructors in this area was Nobel laureate novel-
ist Gabriel Garcia Marquez.
32. Indeed, one of Gutidrrez Alea's scripts submitted in the early stages of this initiativ
was rejected by the collective with which he was affiliated. Conversation with
Rebeca ChAvez, April 28,1990, New York City.
33. All of the directors featured in this anthology, screened at the "Festival Latino" in
New York City, August 1991, are members of a new generation of filmmakers.
Meanwhile, Rebeca ChAvez has been elaborating her first fiction film.
34. As Felix Guattari has pointed out, in both advanced capitalist and "bureaucratic-
socialist" countries, "revolutionary microprocesses need not take the form of social
relations ... the relationship of an individual with music or painting can unleash an
entirely new process of perception and sensibility;" in Guattari and Rolnik,
Micropolitica, 47.
35. "Mumusa" has been defined in a recent article on the subject as "slang for homo
sexual" in Panama and an "affectionate term of endearment in the gay commu-
nity"; Francisco Gonz61ez, "Cine Mumusa/Queer Havana," Latino Collaborative
Newsletter (July-August 1992), 1.
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