Its director was the Madrid-born Enrique Perdices Yubero (1901–1979), who lived in Havana. The appearance of its first issue on 1 December 1935 was the most notorious event in Cuba’s otherwise arid film scene of the mid-1930s. Included in this collection is a complete run of the weekly magazineĬinema. It formed the basis for Agramonte’s monumentalĬronología del cine Cubano, which was published in four volumes between 20 and was co-written by the author of this introduction text. This collection contains biographical information from various sources on producers, directors, distributors and other people involved in the film industry. The cinema produced in this period lived and died with each production company that was founded to carry out a project, many of them unsuccessful and others with insufficient distribution, which negatively impacted their ability to recoup their investment.Īnother valuable component to this online resource is the Agramonte-Castillo collection, which was compiled in the first half of the twentieth century by cameraman-turned-historian Arturo Agramonte García (1925–2003). The organization of the collection allows researchers to study the people who tried to make films rather than the films they succeeded in making, and also to access the material by topic. They have been collected and preserved by the Cinemateca de Cuba since its foundation on 6 February 1960 by the Cuban Institute of Cinematographic Art and Industry (ICAIC), which itself was founded in March 1959, only a few months after the Revolution. The collection includes valuable photographs-many of them unpublished-as well as historical film magazines, yearbooks, lobby cards, and clippings from the press of the time. As the documents in the collection show, Cuba’s film industry never really became an industry, despite the best efforts of a few dreamers, as the Cuban film historian Arturo Agramonte called those who devoted themselves to it.

This period is commonly referred to as the Republican Era. This online collection, aimed at researchers and students as well as cinephiles, comprises documents that record the development of cinema in Cuba between 1902, the year the Cuban Republic was declared, and 1958, when President Fulgencio Batista was ousted by Fidel Castro and his revolutionaries. Barely three years later, the new century began, in which the “music of light”, as the French filmmaker Abel Gance called cinema, would reach its peak. It had the same profound impact on Cuba as it had elsewhere. Already on the 24th, he was showing moving images to a stunned audience. Mexican filmmaker Arturo Ripstein christened the century marked by the invention of the cinematograph by the Lumière brothers the “Century of Lumière.” The Frenchman Gabriel Veyre, an early adopter of the new technology, disembarked in the port of Havana on 15 January 1897.

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