A Crisis Of A Nation, The Fall Of Louis Xvi

962 words - 4 pages

Criticism is not only difficult to receive, but is often unsolicited. Self-criticism can be even more difficult, but it can be highly revealing of one’s own flaws. Governments, especially those controlled by a bureaucratic-authoritarian state, will often view criticism of the state as a direct threat to their rule. In Cuba, as well as much of Latin America, filmmakers such as Tomas Guiterrez Alea found themselves drawn to the problems of neocolonialism and cultural identity. From this collective movement, the New Latin American Cinema emerged. Alea, a self-proclaimed loyalist, produced films centered on the flaws of the Cuban political bureaucracy and society inviting his audience to become ...view middle of the document...

They can be both brutal and humane at the same time. Foreign powers who have involved themselves in this area have also recognized the deep connection militaries share with the political systems found there. Often taking the role of savior and caretaker, strong professional militaries can ensure the continuation of a government. At the same time, a strong military can also ensure the termination of a despotic and economically weak central bureaucracy. When the United States gained control of Cuba in 1898, one of its first actions was the disbandment of the national Cuban military. Despite split sentiment among the Cuban people concerning the relation of their country with the United States, economic hardship, combined with a weak and unpopular military and national leader led to the Cuban Revolution of the twentieth century. Fidel Castro, an enigmatic and charismatic individual, emerged as the authoritative leader of the island nation. Cubans desperate desire for change, especially among the underprivileged, poor, and disenfranchised, gave him many of the tools necessary to invoke a new system of rules and regulations. As always though, the promises carried by these new systems on paper often do not live up to reality, and both self-reflection and criticism begin to take shape anew.
Debuting in 1995, Guantanamera, Alea’s last film, tells the story of lost love in a world of stubborn bureaucracy. Alea’s satire of the Cuban government gives special focus to a diverse cast of characters, all of which have limitations placed upon them by the state. Three of the most contrasting characters found in the film are Adolfo, Mariano, and Tony. Where Mariano and Tony represent the general mass of Cubans using their own individual cunning and ingenuity to make the most of everyday life, Adolfo is a stark symbol for the inefficiencies and absurdities of the Communist government. Making rules and...

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