Tropical and millennial vampires

• Walfrido Dorta ^[1]
  1. [1] Susquehanna University

     Susquehanna University

     Borough of Selinsgrove, Estados Unidos

     
• Localización: CiberLetras: revista de crítica literaria y de cultura, ISSN-e 1523-1720, Nº. 48, 2023 (Ejemplar dedicado a: Perspectives on Spanish, Latin American and Latinx television and cinema)
• Idioma: inglés
• Enlaces
  • Texto completo (pdf)
• Resumen

  • An emergent panorama of audiovisual amateurism redefines Cuban cinema's representalonal and polilcal boundaries. This arlcle focuses on the amateur and exploitalon film Sangre cubana (Cuban Blood) (Edgardo Pérez, 2018) as part of that panorama. It sheds light on an area virtually unstudied by Cuban cinema scholarship, which typically focuses on canonical films and authors and professional independent cinema. The arlcle analyzes the features of Sangre cubana as an example of exploitalon and trash cinema. It explores the aesthelc and conceptual implicalons of choosing the figure of the vampire as the protagonist. Examining the tropicalizalon of this figure and the gothic genre carried out by Sangre cubana, the arlcle addresses the film as an example of global gothic and explores the strategies used by the film to rewrite the legacy of Vampiros en La Habana (Vampires in Havana) (Juan Padrón, 1985). It argues that Sangre cubana symbolically manages the anxieles and crises of the Cuban millennial generalon by focusing on the monstrous and liminal figure of the vampire. Sangre cubana tropicalizes the figure of the vampire and uses this tropicalizalon as a tool of social crilcism. It also comments on the slgmalzalon of dissidence, otherness, and the verlcalism of power ullizing the vampire narralve.