Tomás Gutiérrez Alea and the Art of Revolutionary Cinema

Abstract

Tomás Gutiérrez Alea has been widely acclaimed for his cinematic production and for his role as a key figure in the elaboration of a distinctively Cuban aesthetic. Drawing on notions such as Martín‐Barbero's mediations, Billig's banal nationalism, and Gutiérrez Alea's own viewer's dialectic, consideration is given here to the mutual influences of the Revolution's cultural policies on cinema, and of cinema on the Revolution. Analysis will focus on the films Memorias del subdesarrollo (1968), Hasta cierto punto (1983), Fresa y chocolate (1993) and Guantanamera (1995), which will allow for discussion of some of the director's key themes, including gender issues, the place and role of intellectuals and artists in relation to the Revolution, and the defence of a critical space in which to explore such issues.