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Los documentales del ICAIC más representativos del período 1959-1983
http://cinecubano-laz.blogspot.com/2007/10/simplemente-titon.html
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La “cena lezamiana” fait référence à une scène du roman de José Lezama Lima Paradiso : roman, Seuil, 1971, 1999.
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4
Senel Paz, « Fraise et Chocolat » Editeur : Mille Et Une Nuits. 2001
12
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5
6
7
Liste de dialogues du film Memorias del subdesarrollo, exemplaire polycopié, p. 4.
Ibíd., p. 2.
Tomás Gutiérrez Alea: “Memorias en borrador”, en Arcadia va al cine No. 13 (octubre/noviembre, 1986), p. 51.
16
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8
9
José Antonio Évora : Tomás Gutiérrez Alea, Festival de Cine de Huesca, 1994, p. 38.
Titón réalisa un documentaire sur le Yemen, terminé en 1978 par Constante (Rapi) Diego
17
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Les deux autres histoires: Un día de trabajo et Los novios ont été réaisés par l'espagnol José Miguel (Jomi) García Ascot, à la fois, et Año nuevo, réalisé par le
cubain Jorge Fraga, puis feront partie du Cuba 58 (1962) avec les images d'Otello Martelli.
11
Le texte du narrateur : « La capture du train blindé a été décisif pour la réussite des rebelles. Le gouvernement a répondu par des bombardements et des
mitraillages, qui trouveraient ses victimes parmi la population civile. Mais peu à peu sont tombés d'autres postes. La dernière nuit, le tyran quitte le pays ... »
12
Tomás Gutiérrez Alea : “Otro cine, otro mundo, otra sociedad”, en La Gaceta de Cuba no. 6 (p. 8 noviembre/diciembre de 1995), p. 7.
13
Il s’agit du numéro 47 du Noticiero ICAIC.
10
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Mario González (1908-1998), bien que née à Cuba, il était un des monteurs des plus prestigieux de l’âge d’or du cinéma mexicain, pour lequel il a monté plus
de 50 films, realisées entre autres, par Juan Bustillo Oro, Fernando de Fuentes, Chano Urueta, Julio Bracho et Tito Davison. Dans sa filmographie : Sandra, la
mujer de fuego (1952), de Juan Orol; Más fuerte que el amor (1953), de Tulio Demicheli et, au sein de l’ICAIC, les premiers Quatre longmétrages realisés par
Tomás Gutiérrez Alea: Historias de la Revolución (1959), avec con Carlos Menéndez; Las doce sillas (1962); Cumbite (1964) et La muerte de un burócrata
(1966). Il a reçu le prix Ariel de l’académie mexicaine pour Medianoche (1949), de Tito Davison.
14
21
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15
16
Jorge Ruffinelli dans “Doce miradas (y media mirada más) al cine de Tomás Gutiérrez Alea”, en Casa de las Américas no. 203 (abril-junio, 1996), p. 8
John Mraz: “Memorias del subdesarrollo: Conciencia burguesa, contexto revolucionario”, en Nitrato de Plata No. 20, primavera de 1995, p. 39.
22
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Liste de dialogues du film Memorias del subdesarrollo, éxemplaire miméo-graphique, p. 12.
Ibíd., p. 44.
19
Idem.
20
Tomás Gutiérrez Alea: “Memorias de Memorias...”, en Dialéctica del espectador, Federación Editorial Mexicana, S. A. de C.V., 1983, p. 102.
21
Ibíd., p. 103.
22
Ibíd.
23
John Mraz: op. cit, p. 45.
17
18
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24
25
26
Liste de dialogue du film Memorias del subdesarrollo, p. 22.
Ibíd., p. 33
Jaime Sarusky: “Memorias de Titón. Primera toma”, en: Revolución y Cultura, No. 3/98, p. 51.
24
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!
27
28
29
Liste de dialogues du film Hasta cierto punto, p. 1.
Ángel Rivero: “Titón: Un cine de ideas”, en Revolución y Cultura (marzo/1985), p. 29-30.
Tomás Gutiérrez Alea: “Otro cine, otro mundo, otra sociedad”, en La Gaceta de Cuba No. 6 (noviembre/diciembre de 1995), p. 7.
25
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1968 Memorias del subdesarrollo (fiction)
1971 Una pelea cubana contra los demonios (fiction)
1976 La última cena (fiction)
1977 La sexta parte del mundo (documentaire)
1978 Los sobrevivientes (fiction), El camino de la mirra y el incienso
1983 Hasta cierto punto (fiction)
1988 Cartas del parque (fiction)
1991 Contigo en la distancia (fiction)
1993 Fresa y Chocolate (fiction)
1995 Guantanamera (fiction)
!
26