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Sergio Giral - the Invisible ColorSergio Giral
www.giralmediaproductions.com

Sergio Giral is an American citizen born in Havana, Cuba out of a Cuban father and American mother. He was raised in New York until he returned to Cuba at the time of the Revolution in 1960. He began working for The Cuban Institute of Cinematographic Art and Industry (ICAIC), in 1961. He went on to make a number of short films, documentaries and features. With more than 30 years of experience as a film director and scriptwriter, Giral has dedicated most of his films to Afro-Cuban and Caribbean history and culture. His famous trilogy depicting historical considerations on 19th century slavery in Cuba and the Caribbean have achieved numerous awards and recognitions around the world. Sergio Giral return to United States in 1991. -- www.imdb.com/name/nm0320583

Sergio Giral is raising funds on IndoGoGo for a new documentary:
"The Invisible Color documentary investigates the black Cuban experience in United States and Miami Dade County in particular, since the first wave of political refugees in the 1959 revolutionary aftermath to today, tracks its presence throughout the region, and highlights its contribution to Miami’s civic culture through testimonies and visual documentation."

The Invisible Color

www.facebook.com/theinvisiblecolor

"While any visitor to Cuba will notice the ubiquitous presence of Afro-descendants everywhere, and they have become the public image of the post-Soviet Cuban diaspora in Europe and around the world, black Cubans are invisible in the biggest Cuban enclave outside Cuba: South Florida. The Miami exile is white. Although there was about a 10% of Cubans of color in the pre-1990s exile waves, only a tiny fraction of them stayed in Miami, where non-white Cubans made only a 2% of the total. The Cuban revolution exodus occluded a U.S. civil rights movement in which the newcomers, by and large, did not participate, setting Miami in “an alternative path for race relations,” according to historians. Consequently, the city has remained one of the most segregated and racially unequal in the country, and black Cubans have tended to bypass it for friendlier places farther north and west. Research has shown, in addition, that those who stayed did not benefit from the enclave’s economic and social networks, and in the context of a lingering residential segregation, settled in black neighborhoods and integrated into the African American community within one generation. The result is that the faces of Cuban exile are exclusively white." -- www.indiegogo.com/projects/the-invisible-color

The Invisible Color  5/8/2015 IndieGoGo: go here to donate.

Dear Ileana Ros-Lehtinen  5/4/2015 Twitter @giralmedia:  @RosLehtinen Dear Ileana Ros-Lehtinen: It's an honor announcing you my campaign in Indiegogo http://t.co/GNih99vvWa

— sergio (@giralmedia) May 4, 2015

InvisibleColor 2 Trailer XDCAM  4/29/2015 Sergio Giral - YouTube: "The Invisible Color documentary investigates the black Cuban experience in United State and Miami Dade County in particular, since the first wave of political refugees in the 1959 revolutionary aftermath to today, tracks its presence throughout the region, and highlights its contribution to Miami’s civic culture through testimonies and visual documentation."

THE INVISIBLE COLOR  10/11/2014 THE BROKEN IMAGE/ LA IMAGEN ROTA: with pics

THE INVISIBLE COLOR  9/1/2014 THE BROKEN IMAGE/ LA IMAGEN ROTA: "The invisible color is a living testimonial of the experience through the eyes of Black Cubans everyday life in Miami Dade County in particular, highlighting their mayor occupations and contribution to society as well their life in contemporary Cuba. Cubans and their descendants represent the largest demographic group of Hispanic in South Florida, yet the Black Cubans has gone largely unnoticed due to the Census having limited the reporting on them as just as “Hispanic.” "

THE INVISIBLE COLOR  1/29/2013 THE BROKEN IMAGE/ LA IMAGEN ROTA: "Over the last decades Hispanic immigration have caused a major shift in the demographic complexion of United State. In Miami-Dade County, this complexion is over 70% Hispanic -- with immigrants of Cuban descent making up the largest demographic, while an influx of Central and South Americans is both expanding and fragmenting the composition of Hispanics in the country. There is a growing group of Hispanics who have also played a significant role in this complexion – the Black Cubans – who has gone largely unnoticed, not only to White and Black Americans, but also to Hispanic Americans whose own social structure historically has alienated them as a result of race."

Films/Peliculastop

Year
Title
1967 Cimarrón
1968 Gonzalo Roig
1973 Qué bueno canta usted
1975 El otro Francisco - The Other Francisco
1975 Rancheador
1979 Maluala
1981 Techo de vidrio - Glass Roof
1986 Plácido
1991 María Antonia
1995 La imagen rota - The Broken Image
2000 Chronicle of an ordinance
2004 Al barbaro del ritmo
2010 Dos Veces Ana

Articles/Artículostop

The Invisible Color  5/8/2015 IndieGoGo: "The founding father of Afro-Cuban Cinema, Sergio Giral, is helping bring the black Cuban experience onto the screen." - "Consequently, the city has remained one of the most segregated and racially unequal in the country, and black Cubans have tended to bypass it for friendlier places farther north and west. Research has shown, in addition, that those who stayed did not benefit from the enclave’s economic and social networks, and in the context of a lingering residential segregation, settled in black neighborhoods and integrated into the African American community within one generation. The result is that the faces of Cuban exile are exclusively white. The Invisible Color seeks to both address and redress this silence, and showcase Afro-Cubans’ experiences in Miami as both exiles and immigrants, their relations with their white co-nationals as well as with other resident groups and the city at large."

Dear Ileana Ros-Lehtinen  5/4/2015 Twitter @giralmedia: @RosLehtinen Dear Ileana Ros-Lehtinen: It's an honor announcing you my campaign in Indiegogo http://t.co/GNih99vvWa

— sergio (@giralmedia) May 4, 2015

SERGIO GIRAL FILM TRILOGY ON SLAVERY IN CUBA AND THE CARIBBEANS  4/29/2015 THE BROKEN IMAGE/ LA IMAGEN ROTA: "On my films I always have turn the camera point of view to the background, where slaves, maids and working class Black characters traditionally move along. From “The Other Francisco” that tells the impossible love story between two Black slaves; “Slaves Hunter”, “Maluala” and “Placido” that count the ordeal of Blacks and mestizos in search for freedom and equality in Cuba 19th. Century; “Maria Antonia” portraying the tragedy of a “mulata:” in Cuban Republican times; “Glass Roof” that denounces the privileges of white workers in a Socialist Cuba with a 60% of Black and mulatto population; to a more recent film “Two Times Ana” depicting the dreams and reality of a “colored” market cashier in Miami, my films have intended to contribute to unveil this invisible color on the screens."

InvisibleColor 2 Trailer XDCAM  4/29/2015 Sergio Giral - YouTube: "The Invisible Color documentary investigates the black Cuban experience in United State and Miami Dade County in particular, since the first wave of political refugees in the 1959 revolutionary aftermath to today, tracks its presence throughout the region, and highlights its contribution to Miami’s civic culture through testimonies and visual documentation."

Sergio Giral: a giant of Cuban cinema  2/7/2015 BFI: "Born in Havana in 1937, Giral began his professional life as a painter in New York City. Barely surviving in the US, he returned in 1959 at the age of 22 to witness the Cuban revolution (the Castro-led overthrow of Batista’s government), before becoming involved – at the behest of legendary cinematographer Nestor Almendros – in the Cuban Institute of Cinematographic Art and Industry (ICAIC). The ICAIC – established in March 1959 – was one of the first cultural initiatives carried out by the revolutionary government, and it was here that Giral developed his interest in Cuba’s complex colonial history within the context of filmmaking."

THE DISSIDENT MOVEMENTS AND THE RESOURCES TO THE METHOD  1/16/2015 THE BROKEN IMAGE/ LA IMAGEN ROTA: "For more than a lustrum the Castro regime has generated a consistent opponent dissident movement, many of its members have been killed in front of the firing squad and their names have remained anonymous; others have suffered imprisonment and abuse for decades. Each new opposition voice has been stifled and repressed behind the bars of a jail or beating, spitted and dragged through the streets of the cities. These men and women who have paid the price of rebellion have a name and a story."

La pasión del cine (Conversando de esto y aquello con Sergio Giral).  1/1/2015 Gota de Agua: "La dirección de un organismo cultural o de cualquier otra naturaleza, en la Cuba de hoy, es la que determina el diseño de la misma. En el caso del ICAIC, Alfredo Guevara, su director, tenía una concepción muy abierta de la raza, quizás como marxista que era no tomaba muy en cuenta este asunto. Cuando ingresé al ICAIC ya se encontraban allí Sara Gómez y Nicolacito Guillén, junto a otros jóvenes realizadores blancos. Esa selección estaba en manos de Guevara al principio, lo que prueba mi anterior consideración. El elitismo del ICAIC no creo que consistía en el color de la piel sino en el nivel cultural y artístico del individuo, sin ignorar el potencial de integración política, que el propio Guevara y el Partido comunista apreciara. Dentro de un régimen autócrata, ese es el modelo a seguir."

THE INVISIBLE COLOR  10/11/2014 THE BROKEN IMAGE/ LA IMAGEN ROTA: with pics

The trilogy of the slavery by Sergio Giral  10/1/2014 Cuba Contemporeana 

La trilogía de la esclavitud de Sergio Giral  9/29/2014 Cuba Contemporanea: "El otro Francisco constituyó la primera tentativa en el cine cubano –e iberoamericano– de analizar el fenómeno de la esclavitud en su contexto socioeconómico y político. Diario de un rancheador, de Cirilo Villaverde, otra de las novelas ochocentistas estudiadas en el proceso de prefilmación de su ópera prima en el largometraje de ficción, originó Rancheador (1976), segunda parte de lo que devino una trilogía… Cierra este tríptico y esta línea temática en el cine cubano –si bien Tomás Gutiérrez Alea contribuyera magistralmente con La última cena (1976)– Maluala (1979), sobre la lucha de los palenques y su resistencia heroica contra quienes intentaban exterminarlos."

THE INVISIBLE COLOR  9/1/2014 THE BROKEN IMAGE/ LA IMAGEN ROTA: "The invisible color is a living testimonial of the experience through the eyes of Black Cubans everyday life in Miami Dade County in particular, highlighting their mayor occupations and contribution to society as well their life in contemporary Cuba. Cubans and their descendants represent the largest demographic group of Hispanic in South Florida, yet the Black Cubans has gone largely unnoticed due to the Census having limited the reporting on them as just as “Hispanic.” "

La trilogía de la esclavitud de Sergio Giral  8/22/2014 Habana Radio: "“La Revolución estableció igualdad de deberes y derechos, pero desde el punto de vista del individuo, no se puede negar que existen resquicios de racismo, pues el colonialismo y nuestro pasado esclavista dejaron marcas de difícil destrucción. Con el advenimiento de la Revolución cubana y la consecuente estructuración del ICAIC, de un grupo de veinte cineastas, apenas tres éramos negros: Sara Gómez, Nicolás Guillén Landrián y yo”. Estas son declaraciones del cineasta Sergio Giral (La Habana, 2 de enero de 1937) en Brasilia a propósito de la muestra “El negro en el cine cubano” , promovida en abril de 1988 por la Asesoría de Asuntos Afro-Brasileños del Ministerio de Cultura."

LA MUJER EN MIS FILMS  8/15/2013 THE BROKEN IMAGE/ LA IMAGEN ROTA: Por Sergio Giral

ALEJANDRO RIOS: En negro y blanco  4/12/2013 Nuevo Herald: "En el documental se presenta Roberto Zurbano, por entonces funcionario editorial de la Casa de las Américas, para decir que el asunto no debía seguir siendo escondido porque a la larga, los negros cubanos pudieran pensar que pertenecen a otro país como ocurría en el siglo XIX, donde había una Cuba blanca y otra negra “¿Por qué –preguntaba por otra parte Corvalán– no podemos hacer filmes protagonizados por negros ingenieros, abogados o doctores? La respuesta a su interrogante tal vez la pueda tener Alfredo Guevara, presidente y fundador del Instituto de Cine, quien solo dio cabida a esclavos y cimarrones en la filmografía del ICAIC. Cuando temprano el cineasta Sergio Giral intentó escapar de ese sortilegio con los filmes Techo de vidrio y luego María Antonia, debió tomar el camino del exilio pues la presión era mucha."

THE INVISIBLE COLOR  1/29/2013 THE BROKEN IMAGE/ LA IMAGEN ROTA: "Over the last decades Hispanic immigration have caused a major shift in the demographic complexion of United State. In Miami-Dade County, this complexion is over 70% Hispanic -- with immigrants of Cuban descent making up the largest demographic, while an influx of Central and South Americans is both expanding and fragmenting the composition of Hispanics in the country. There is a growing group of Hispanics who have also played a significant role in this complexion – the Black Cubans – who has gone largely unnoticed, not only to White and Black Americans, but also to Hispanic Americans whose own social structure historically has alienated them as a result of race."

Entrevista al cineasta Sergio Giral  3/10/2012 Teresa Dovalpage: "Giral acaba de publicar un libro, Villa Miseria, cuya trama tiene lugar en Cuba, entre la bohemia de El Vedado. Sobre éste, y sobre su carrera artística, trata esta entrevista."

SERGIO GIRAL Y JESÚS HERNÁNDEZ CUÉLLAR CONVERSAN  1/18/2010 Cine cubano, la pupila insomne: "Con más de cuatro décadas como director de cine, Sergio Giral tiene lista su próxima película, “Dos Veces Ana”, después de un extenso período sin realizar largometrajes de ficción. La mayor parte de su obra cinematográfica la dirigió en su natal Cuba, y casi toda esa obra estuvo dedicada al rescate de temas raciales. “Cimarrón” (1967), que fue su primera cinta, “Rancheador” y “El Otro Francisco” (1975), o “María Antonia” (1991) hasta la película sobre Benny Moré, “Al Bárbaro del Ritmo” (2004) se proyectan en esa cuerda. “Dos Veces Ana” no tenía por qué ser la excepción."

Links/Enlaces top

www.imdb.com/name/nm0320583

en.wikipedia.org/wiki/Sergio_Giral

es.wikipedia.org/wiki/Sergio_Giral

Sergio Giral - EcuRed

Sergio Giral YouTube Channel

www.dosvecesanathemovie.com

www.giralmedia.com

www.africanfilm.com/maluala.htm

 

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