Article
Spanish
ID: <
oai:doaj.org/article:7b565221b93143c781c0a6701c03bde8>
Abstract
Research looks at the relationship between documentary and reality in the 1960s. It focuses on the process by which the film symbolises its social environment and thus captures the collective nature of its time. The study states that ontological interpretation, as a strategy for interpreting Cuban space, is the distinguishing mark that characterises the documentary evidence produced by ICAIC in the period. Research takes an interdisciplinary direction and implements analytical tools from philosophy, linguistics and sociology, towards the working horizon of Cuban art history and, in particular, to examine Cuban audiovisual. The intention is to demonstrate that the relationship of work in ICAIC’s documentaries in the 1960s was mediated by two different approaches: a consensus perspective and a conflict perspective. The confrontation with reality by the documentary film of the stage used both approaches to fulfil their communicative and guiding role, but also to re-engage and review the progress of the social process.