Quand le cinéma postrévolutionnaire chante le syncrétisme cubain

  • Magali Kabous Université Lumière-Lyon 2, Langues et Cultures Européennes (LCE)
DOI: https://doi.org/10.34929/sep.vi06.156
Keywords: Cuba, Musical, Tradition, Renovation, Syncretism

Abstract

In addition to the emphatic, poetic and eclectic use of a Cuban classic such as « Quiéreme mucho » and the collaborations between musicians and filmmakers, the musical is actually a very uncommon cinema genre in Cuba, except for an astonishing and poorly distributed movie by Manuel Octavio Gómez, Patakín. This feature combines various religious, musical and political influences to make up a controversial portrait of Cuban syncretism. 

Published
2017-10-01
How to Cite
KabousM. “Quand Le cinéma postrévolutionnaire Chante Le syncrétisme Cubain”. Savoirs En Prisme, no. 06, Oct. 2017, pp. 195-12, doi:10.34929/sep.vi06.156.
Issue
No. 06 (2017): Mélodrame et tragédie. Cinéma et théâtre hispano-américains contemporains
Section
Varia

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