• Share
  • Email
  • Embed
  • Like
  • Save
  • Private Content
Reinaldo arenas
 

Reinaldo arenas

on

  • 336 views

 

Statistics

Views

Total Views
336
Views on SlideShare
235
Embed Views
101

Actions

Likes
0
Downloads
0
Comments
0

1 Embed 101

http://latinosexualitygender.wordpress.com 101

Accessibility

Categories

Upload Details

Uploaded via as Microsoft PowerPoint

Usage Rights

© All Rights Reserved

Report content

Flagged as inappropriate Flag as inappropriate
Flag as inappropriate

Select your reason for flagging this presentation as inappropriate.

Cancel
  • Full Name Full Name Comment goes here.
    Are you sure you want to
    Your message goes here
    Processing…
Post Comment
Edit your comment
  • Explain why Arenas Batista, imperialist America in Cuba,

Reinaldo arenas Reinaldo arenas Presentation Transcript

  • ReinaldoArenas: MoreThan the SingleStoryBefore Night Falls directedby Schnabel, Global Arenasby Jacqueline Loss
  • Introduction to Arenas  Born July 16 1943 in the rural Cuban countryside  Joined rebel forces of Castro as a teenager  Moved to Havana after the triumph of the revolution  Published first novel in 1967 Celestino antes del alba  Left Cuba in 1980 through the Mariel boat lift  Arrived in Miami, then settled in New York City  Committed suicide on December 7th 1990
  • Context Context Context! Batista’s Cuba- 1933- 1958 City vs. Country conditions during this time Americas Imperial Arm 1959 Castro gains power Approximately 1965-1968 UMAP (Military Units to Aid Protection) labor camps for “counterrevolutionaries” Sugar Cane What is a counterrevolutionary?
  • Context Homosexuals (gay men), Counterrevolutionary intellectuals, Jehovahs witnesses, insubordinate farmers In Fidel’s words homosexuals were… Sick Characteristic of capitalism Denounced homosexuals as agents of imperialism Believed work in UMAP would make them “true revolutionary men” Dentro de la Revolucion: Todo. Contra de la Revolucion: NADA
  • Intellectuals The Speech “Palabras a Los Intellectuales” 1961 Cautions Intellectuals about producing work that could be seen as “against” the revolution Explained that the revolution won Cuba freedom and freedom of speech, and that any work that is anti revolutionary is therefore anti the freedom and undermines the well being and freedoms of the collective whole Persecution of Intellectuals/artists P.M Saba Cabrera Infante and Orlando Jimenez censored
  • PM PM 1:22 http://www.youtube.com/watch?v=I0- 8gfWzBa8&list=PL6E2F51428B583AEF Bodies Represented  Constraints  Connect to Arenas  Homosexual and intellectual/artist  “The system has used any means necessary to eradicate my existence.”  Forced sending of manuscripts abroad
  • Before Night Falls as a Movie  What did you think of the film?  How was Cuban sexuality portrayed?  Were there parts that stood out to you?  Do you remember any important scenes that depicted Arenas’ sexuality? How did the movie’s portrayal of his sexuality differ from or adhere to the texts we read for Tuesday?
  • Symbolism Reinaldo looking up at Hot Air Balloon vs. Skyscrapers Plants and nature in Cuba vs. NYC The I <3 NY bag Johnny Depp both as Bon Bon and lieutenant Victor
  • Problematic Aspects Schnabel’s portrayal of Arenas and his sexuality  Desexualized? In your face-ness? Why may this be? Audience? Schnabels production of the film 10 years after his death Power dynamics of Author and Author’s identity The oversimplifying of a single story Fidelity Criticisms Commodification The issues of artistic liberty  Miami, Suicide
  • Problematic Aspects Imperialist writing Speaking for someone else- prosopopeia vs. testimino The danger of “rescuing” and “rescue narratives”- “I feel I like I walked those streets…” Voyeurism- American desire to see Cuba (the “forbidden fruit”)
  • Questions Do you think Schnabel’s rendition of Reinaldo Arenas’ life was understandable? Outright Imperialist? Or necessary for filmic (American) audiences? Loss prompts, “Whose cultural memory is privileged if we accept the rescue paradigm? In what aspects of consumerism lead us to buy into the narrative of rescue and demise that coincides with the markets whims.” What do you think?
  • Problematic Aspects Cutting of scenes at particularly chosen moments Formation of relationships and sexual encounters in film English in Cuba and Spanish in U.S Nosotros vs. Ustedes (Us vs. Them)- touches back to voyeurism
  • The Danger of a Single Story Using a single story to define someone’s many stories (Arenas as a writer vs. google search as poet) Using a single story to characterize a people (homosexuals, Cubans etc.)  Can you think of any other stories that are used as “universals” for a group/s of people?  Homogenization and absorption vs. plurality and diversity
  • The Danger of a Single Story Novelist Chimamanda Adichie, “The Danger of a Single Story.”  http://www.ted.com/talks/chimamanda_a dichie_the_danger_of_a_single_story.html
  • Works Cited http://www.people.fas.harvard.edu/~jidomin g/images/jid_batista.PDF http://www.glbtq.com/literature/arenas_r.ht ml Global Arenas: Narrative and Filmic Translation of Identity. Jacqueline Loss Before Night Falls. Julian Schnabel P.M by Saba Cabrera Infante The Danger of a Single Story Chimamanda Adichie