Tuesday, March 27, 2012

Censorship Catholicommunist in Cuba / Orlando Luis Pardo Lazo

Censorship Catholicommunist in Cuba / Orlando Luis Pardo Lazo
Orlando Luis Pardo Lazo, Translator: Unstated

Why Not Awakening?

– An article about the censorship of the documentary about Escuadrón
Patriota(Patriot Squadron) –

Every February, the Chaplin Cinema opens its doors to the Young
Filmmakers Exhibition organized by the Cuban Institute of Art and
Cinematographic Industry (ICAIC). The Exhibition is presented as the
only and therefore the best chance for the youngest filmmakers to show
their work.

Organized under the guidelines that govern the ICAIC, and being that
this is a center that, despite enjoying some autonomy, meets the state
interests, the Exhibition retains the right whether to accept films
according to its policies, which do not serve the interests of the
filmmakers. So it can be said that it decides based more on political
correctness, than on the quality of the work as artistic and critical
means of expression.

It is evident that under this right of selection is hidden censorship
and exclusion from the system, which the documentary Awakening, directed
by Ricardo Figueredo Oliva and Anthony Bubaire did not escape this time.

The topic is Raudel Collazo, best known for Escuadron Patriota (Patriot
Squadron), who, in the lyrics of his now-censored songs, takes on with
strong and direct speech core issues that attack Cuban society, such as
racism, fear and segregation. Which brings us back to the show last year
when the documentary Revolution, which explores the history of Los
Aldeanos (The Villagers), Cuban hip hop's most successful group on and
off the island in recent years, was also censored, only this time as
opposed to that, all parties did not reach consensus.

The freedom of creation and exhibition is still a conquest to be reached
in Cuban audiovisual media, and institutions rusted away by time and
their policies, which are obsolete in the current context, look like old
dinosaurs today. More than ever, Cuban cinema lives today among the
hundreds of filmmakers such as Anthony Bubaire and Ricardo Figueredo who
strive to assault and present reality with all its nuances.

It is necessary that the ICAIC, an institution that has championed art
as a fundamental premise, echo the needs for which Cuban society is
avid: the completion of an art that is more than their reality, a cinema
that shows them to be more than they are and what can be, and that for
once leaves behind those politics that are maintained only in cinema
tied to the remnants of a past that only endeavors to reveal the reality
of two colors: red and green.

Mely Acosta


March 25 2012


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