Sonidos del trabajo

Los montajes de Guillén Landrián en Taller de Línea y 18

  • Julio Ramos Profesor Emérito de la Universidad de California, Berkeley. Profesor de la Universidad Andina Simón Bolívar.
Keywords Guillén Landrián, Taller de Línea y 18, labor, worker´s assembly, montage, sound montage, experimental film and music
Keywords Guillén Landrián, Taller de Línea y 18, labor, worker´s assembly, montage, sound montage, experimental film and music

Abstract

This article explores the rendition of industrial work and a worker´s assembly in Taller de Línea “Claudio A. Camejo” y 18 (1971), one of the last experimental documentaries directed by Cuban filmmaker NIcolás Guillén Landrián before his expulsion from the Cuban Film Institute (ICAIC) in 1972. Particular attention is placed on the disruptive assemblage of sound in this short documentary whose sound-track was partially composed by Leo Brouwer´s Grupo de Experimentación Sonora at the ICAIC.

Author Biography

Julio Ramos, Profesor Emérito de la Universidad de California, Berkeley. Profesor de la Universidad Andina Simón Bolívar.

Julio Ramos (born in 1957, Río Piedras, Puerto Rico), has written about Latin American literature and visual culture. He is the author of Desencuentros de la modernidad: literatura y política en América latina(1989), Paradojas de la letra(1996), Sujeto al límite: ensayos de cultura literaria y visual(with an introduction by Camila Pulgar Machado, 2011), and essays compiled by Raúl Rodríguez Freyre in Latinoamericanismo a contrapelo(2015) and by Víctor Fowler Calzada in Ensayos próximos(2012). His audiovisual work includes research and co-direction with Raydel Araoz of Retornar a La Habana con Guillén Landrián(2013) and the direction, script and archive research of Detroit's Rivera: The Labor of Public Art (2017), edited by Tatiana Rojas and Martín Yernasian, with sound design by Max Heath.

Published
2019-05-06
Section
Dossier: El cuerpo del Trabajo: Precariedad