Less than three months after Castro overthrew Batista’s dictatorship, the first cultural change of the revolutionary government was founded. On March 24, 1959, the Cuban Institute of Cinematic Art and Industry (ICAIC) was established. Castro believed strongly in the importance of cinema and television; he specifically placed an emphasis on film, believing that cinematography was a tool for the revolution. ICAIC became known for sophisticated cinema and most of the films produced focused around the revolution (Martin, 124). Tomas Gutierrez Alea, one of the leaders of ICAIC, directed the film Memories of Underdevelopment in 1968 which has been claimed to be the greatest Cuban film of all time
ICAIC placed a large importance on documentaries. Many new film makers became involved in the organization offering fresh ideas and new energy. Cuban documentaries usually can be defined in terms of one of five categories: historical, cultural, domestic politics, international relations, and finally didactic. Largely because funds and resources were limited, film makers turned to other medians to produce their films. Alea was one of the first directors to “draw from existing film archives and such “second-hand” sources as news photos and television footage” (Martin, 127). In his film Memories of Underdevelopment, Alea used photos, recorded speeches and newsreels to add variety to his black and white film. This new approach heightened the quality of his work and as a result became internationally acclaimed.
Revolutionary cinema has been plagued with two common themes: history and underdevelopment. Both of these themes are evident in Cubans’ everyday lives and will have an impact on their future. Cuba has continuously been suppressed primarily by the US as well as other nations after being colonized by the US. Cubans have been denied many resources and opportunities in an attempt to keep them repressed and in constant need of foreign aid. Ironically, while making Memories of Underdevelopment, Alea encountered the effects of making the movie in Cuba; he was limited of many necessities due to the underdevelopment of the country.
Although ICAIC’s primary goal was to produce high-quality work despite the numerous limiting factors facing the production of cinema, the organization also sought to have the films reach larger audiences. Since most rural areas lacked movie theaters altogether, ICAIC faced a big dilemma. In order for films to reach the large populations of Cubans in rural areas, mobile-cinemas were introduced. Since movie theaters could not be established readily or easily, “trucks, mule teams, even small boats, fitted out with projection equipment and stocked with an electric repertoire of film titles, were sent to the most remote sections of the island” (Martin, 131). ICAIC wanted to offer the public a variety of films to allow the viewer’s more liberty. At first, ICAIC faced many problems with theaters refusing to show their films. Many cinema owners resisted the films being shown because they did not believe the films would be popular among the public. It took several years before ICAIC’s films were prevalent in movie theaters
In addition to documentaries, ICAIC also produces feature films, animated cartoons and newsreels. Despite the situation having improved dramatically, many factors continue to curb production. Cuba is still faced with financial and material limitations. In addition, within ICAIC there is a need for a larger public demand for production and a lack of strong artistic and organizational leaders. Because of the small size of Cuba, many are proud of its’ accomplishment; however, many believe Cuba has a greater potential and should continue to expand its production. Since very few Latin American countries have a national cinema, Cuba is content with its production and will continue to yield high quality work.