Memory and a Hard Place: Revisiting Central Havana

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dc.contributor.author Wyndham, MM
dc.contributor.author Read, P
dc.date.accessioned 2010-05-28T09:57:56Z
dc.date.issued 2008-01
dc.identifier.citation Portal, 2008, 5 (1), pp. 1 - 16
dc.identifier.issn 1449-2490
dc.identifier.other C1 en_US
dc.identifier.uri http://hdl.handle.net/10453/10642
dc.description.abstract Raul and Manolo are two Cuban men in their late sixties. Manolo left soon after Castros triumph to become a television celebrity in Miami. He returned in 1991 to make a clandestine film about the city which once was his. Raul never left his decaying city. He applauded the revolution, but little by little his enthusiasm soured. The paper examines the relationship of the two men to what was once the ultra modern Central Havana of the mid-1950s. Manolos froze on the day he left: his filmed city is silent, immobile, full of ghosts, almost empty, ugly, ruined. Manolos Central Havana processes and changes, it is noisy, busy, - but also it is ugly and ruined. Both lament the city as it once was. Only Raul sees hope of reconciliation
dc.publisher UTS
dc.title Memory and a Hard Place: Revisiting Central Havana
dc.type Journal Article
dc.parent Portal
dc.journal.volume 1
dc.journal.volume 5
dc.journal.number 1 en_US
dc.publocation Sydney, Australia en_US
dc.identifier.startpage 1 en_US
dc.identifier.endpage 16 en_US
dc.cauo.name FASS.Faculty of Arts and Social Sciences en_US
dc.conference Verified OK en_US
dc.for 2002 Cultural Studies
dc.personcode 040005 en_US
dc.personcode 0000022575 en_US
dc.percentage 100 en_US
dc.classification.name Cultural Studies en_US
dc.classification.type FOR-08 en_US
dc.edition en_US
dc.custom en_US
dc.date.activity en_US
dc.location.activity en_US
dc.description.keywords en_US
pubs.embargo.period Not known
pubs.organisational-group /University of Technology Sydney
pubs.organisational-group /University of Technology Sydney/Faculty of Arts and Social Sciences
pubs.organisational-group /University of Technology Sydney/Strength - Creative Practices and the Cultural Economy


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