Santiago Alvarez Films Essay

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Introduction Santiago Alvarez is honored in the world as the pioneer of revolutionary Cuban filmmaker as well as his documentary masterpieces also contribute a remarkable achievement in Latin America films. Santiago was given birth on March 8, 1919, who is the son of an immigrant Spanish family in Cuba. He was involved in learning politics at his very early age since his father arrested as a result of anarchistic activity. Subsequently, at the age of 15, Santiago began to work as a printer’s apprentice and then he became a strike planner speedily after he participating in the workers’ union. At the end of 1930s, during the American Great Depression, Santiago travelled to United States and then found a job as coal mineworker and …show more content…
This essay is going to discuss representative documentaries made by Santiago Alvarez in the way of analyzing its formal method and interpreting its political objectives in each film. Besides, some comments that Santiago hires the power of editing to address his political opinion will also be illustrated in each documentary.

The documentaries against to Racism and Imperialism As one of Santiago’s representative short documentaries, Now, which was directed in 1965 merely with limited number of footage, still photos and background music, is exemplified as a convincing proof of his famous word, “Give me two photographs, a moviola and some music and I’ll make you a film” (Peter, 1957). Structurally, Santiago employs most photographs footage from magazines within United States such as Life, and then the picture clusters are dynamically edited through montage with the same title music ‘Now’ sung by Lena Horne. Moreover, Now is noted, as an extraordinary forerunner to the music video format as well, owing to its duration time is equally long as the scored music. The opening sequences of Now come out with a rhythmic music to address a disobedient atmosphere, subsequently, the screen is divided into three bars. Primarily, an uncovered image of Martin Luther King looking right is established as juxtaposition to a parallel style photo of Lyndon B. Johnson looking left, which indicates the

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