Dossier: Santa y Andrés

Santa y Andrés:  A Dossier

Dunja Fehimovic, Newcastle University
Ruth Goldberg, SUNY Empire State College

Studies in Spanish and Latin American Cinemas, 17.3 (2020), pp. 377-382, doi: https://doi.org/10.1386/slac_00027_2.  The dossier includes:

Zarza, Zaira (2020), ‘‘‘I want to watch movies”: Film activism and Cuban
screens’, Studies in Spanish & Latin American Cinemas, 17:3, pp. 383–395, doi: https://doi.org/10.1386/slac_00028_1.

Goldberg, Ruth (2020), ‘Seeing the light in Santa y Andrés: Metaphor, myth and historical ambivalence’, Studies in Spanish & Latin American Cinemas, 17:3, pp. 397–408, doi: https://doi.org/10.1386/slac_00029_1

Fehimović, Dunja (2020), ‘Ethics, hospitality and aesthetics in Fresa y chocolate (Strawberry and Chocolate) (Gutiérrez Alea and Tabío 1993) and Santa y Andrés (Santa and Andrés) (Lechuga 2016)’, Studies in Spanish & Latin American Cinemas, 17:3, pp. 409–425, doi: https://doi.org/10.1386/slac_00030_1

Peña, Lauren (2020), ‘Revolutionary ruralities: Spaces of surveillance and
exclusion in Carlos Lechuga’s Santa y Andrés (2016)’, Studies in Spanish
& Latin American Cinemas, 17:3, pp. 427–442, doi: https://doi.org/10.1386/slac_00031_1

And original essays written by Cuban critics and filmmakers about Santa y Andrés since the film’s release and subsequent censoring in Cuba.  See links below.

“In the context of the polemic that has rightly and productively raged around the fate of the film among specific communities and in specific fora, we propose the present dossier as, on the one hand, a continuation and amplification and, on the other, a corrective. First, the original articles collected here continue, through different lenses, the debates about censorship, creativity, individuality, freedom, community and the collective initiated by Cuban film critics and cultural commentators on and beyond the internet when Santa y Andrés was first pulled from programming. Through the curation of existing articles on the film and its censorship, the dossier wishes to offer a certain continuity to debates that have been fragmented across online and offline spaces and multiple platforms not always accessible or known to all audiences. At the same time, it aims to amplify these voices beyond the (predominantly Cuban) readerships of sites such as OnCuba Magazine or El cine es cortar and initiate debates outside of the sphere of committed Cuban film professionals engaged in struggles such as the g20 or the Cardumen (discussed in Zaira Zarza’s contribution)….”

This online archive “houses important primary source documents related to the film, including transcripts of some of the Facebook debates and original statements, reviews and interviews by Cuban filmmakers and critics published at the time of the film’s release. This selection includes supportive texts by director Enrique (Kiki) Álvarez and Dean Luis Reyes, which were initially published on online sites Cubaposible.com and oncubamagazine.com during the week when the film’s exhibition was being debated. The following year, Reyes was able to watch the film and produce a more textual analysis, which was published on the
‘Altercine’ space of ipscuba.net. Joel del Río’s analysis of the film’s soundtrack
originally appeared on cibercuba.com, but he has kindly developed and expanded it for publication here. Antonio Enrique González Rojas offers an interview with Carlos Lechuga and an overview of the film that originally
appeared in hypermedia.com. Writing for Rialta magazine, Pablo Argüelles
Acosta compiled an important summary of the debates around the film and
links to online source materials.”