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ICRT Cuban

Cuban films after the revolution, symbolize a work of a complex organism, that may only be interested in promoting the enjoyment of the great popular masses. With the creation of the ICAIC, with the ICR, and subsequently the ICRT, was that a work aimed at achieving good artistic objectives, in which architecture, and the theme of construction has not been away from the movies, could carry out so in quite a few movies there is an architect, an architect or an engineer reflected in cinema (remoteness(Life is to whistle, Vertical love, will swap, etc.), as protagonists of the series, since they have played a very important role in the development of the city as a concept in the restoration and conservation of the built heritage of the cities, and new projects for the improvement of cities within the Cuban revolution. Is for them, that in the recreation of some images seen in the cinematic arguments appreciates architecture both in the panoramic shots, as in the first and second levels, because in fact our industry account with movie studios in the style of Holywood, so for cinematic accomplishments has not needed move to natural and/or built scenarios. These architectural images can be appreciated according to the time that the plot of the film, and its cinematic argument unfolds, but it is present also during the development of the ICAIC, in different important moments of Cuban cinematography, and according to the development that reaches this industry, during the evolution and foundations of the technique in black and white, as that occurs later with the introduction of color, and an outlet of senior experience by our directors and cameramen, in which consolidated the development of the seventh art in our country, and the influence that comes from the cinematographies Italian, American, French, Spanish, Soviet, and Latin American fundamentally. Let’s analysis as noted architecture in the development of Cuban cinema. .

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