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Bibliography

  • Abello, Alberto; Bassi, Ernesto: “Un Caribe por fuera de la ruta de la Plantación,” Un Caribe sin Plantación (San Andrés: Universidad Nacional de Colombia, 2006),
  • Affergan Francis: “Antropologie á la Martinique,” L’Homme et la Societé, Vol. 71, Issue 71–72, (Paris: Presses de la Fondation Nationale des Sciences Politiques, 1984).
  • Aguirre Rojas, Carlos: Retratos para la historia: Ensayos de contrahistoria intelectual (La Habana: Ediciones ICAIC, 2010).
  • Alcazar, Annabelle: “Wanted: Caribbean Film Investors with Imagination,” Caribbean Beat, Issue 30, March/April 1998.
  • Ali, Jonathan: “Riding the New Wave of Caribbean Cinema,” Caribbean Beat, Issue 105, September/October 2010.
  • Anderson, Benedict: Imagined Communities: Reflections on the Origin and Spread of Nationalism (London: Verso Books, 1983).
  • Anteby-Yemini, Lisa and Berthomière, William: “Diaspora: A Look Back on a Concept,” Les diasporas: 2000 ans d’histoire (introducción al libro), (Rennes: Presses Universitaires de Rennes, 2005).
  • Archer, Melanie: “Stories for the Eye,” (profile on filmmaker Juan Francisco Pardo) Caribbean Beat, Issue 122, July/Aug 2013.
  • Aumont, Jacques; Bergala, Alain; Marie, Michel; Vernet, Marc: Estética del Cine: Espacio fisico, montaje, narracion, lenguaje (Barcelona: Ediciones Paidós, 2008).
  • Bakari, Imruh: “Horace Ové: Living with Pressure,” Black Filmmaker, Vol. 1, No. 4, December 1998.
  • Barthes, Roland: La Chambre Claire: Note sur la photographie (Paris: Cahiers du cinéma Gallimard Galimard, 1980).
  • Basdeo, Amrita: “Indian Cinema in Trinidad: Role and Impact,” Caribbean Studies Thesis, University of the West Indies, St. Augustine, 1997. [See also: Niranjana, Tejaswini: Mobilizing India: Women, Music, and Migration Between India and Trinidad (Durham: Duke University Press, 2006)
  • Best, Curwen: Culture @ the Cutting Edge: Tracking Caribbean Popular Music, (Kingston: University of the West Indies Press, 2004).
  • Bogle, Donald: Toms, Coons, Mulattoes, Mammies, and Bucks: An Interpretative History of Blacks in American Films (New York: Bantam Books, 1974.
  • Bosh, Juan: De Cristobal Colón a Fidel Castro: El Caribe, Frontera Imperial (La Habana: Editorial Ciencias Sociales, 2007).
  • Brathwaite, Edward Kamau: History of the Voice (London: New Beacon Books, 1984).
  • Breitman, George: “In Defense of Black Power,” International Socialist Review, Jan-Feb 1967.
  • Carpentier, Alejo: “Lo que el Caribe ha dado al mundo,” El Correo de la UNESCO, Diciembre 1981, Año XXXIV.
  • Chailloux Laffita, Graciela: “British Subjects y Pichones en Cuba,” De dónde son los cubanos, (Havana: Editorial de Ciencias Sociales, 2005).
  • Cham, Mbye (ed.): Ex-Iles: Essays on Caribbean Cinema (Trenton: Africa World Press, 1992).
  • Cham, Mbye and Claire Andrade-Watkins: Blackframes: Critical Perspectives on Black Independent Cinema, (Cambridge: MIT Press, 1987).
  • Clifford, James: “Diasporas,” Cultural Anthropology, Vol. 9, No. 3, August 1994.
  • Combs, Richard: “The Right and the Wrong,” [review] Monthly Film Bulletin No. 38, 1971.
  • Condé, Maryse: Yo, Tituba, la Bruja Negra de Salem (La Habana: Fondo Editorial Casa de las Américas, 2010).
  • Cooper, Carolyn: Noises in the Blood: Orality, Gender and the “Vulgar” Body of Jamaican Popular Culture (London: Macmillan, 1993).
  • Dabydeen, David: “The Black Figure in 18th-century Art,” November 2010.
  • Del Río, Joel; Cumaná, María Caridad: Latitudes al margen: el cine latinoamericano ante el tercer milenio (La Habana: Ediciones ICAIC, 2008).
  • Ellis, David: “The Produce of More Than One Country: Race, Identity and Discourse in Post-Windrush Britain,” Journal of Narrative Theory, Vol. 31, No. 2 (Summer, 2001).
  • Fanon, Frantz: Piel Negra, Máscaras Blancas (Buenos Aires: Schapire Editor, 1974).
  • Fanon, Frantz: The Wretched of the Earth (trans. Constance Farrington) (New York: Grove Weidenfeld,1963).
  • Fornet, Ambrosio: Las Trampas del oficio: Apuntes sobre Cine y Sociedad (La Habana: Ediciones ICAIC, 2007).
  • Fornet, Ambrosio: Narrar la Nación (La Habana: Editorial Letras Cubanas, 2009).
  • Fraginals, Moreno Manuel: El Ingenio (La Habana: Ciencias Sociales, 2014).
  • Fraginals, Moreno Manuel: “La plantación, crisol de la sociedad antillana,” El Correo de la UNESCO, Diciembre 1981, Año XXXIV.
  • García Espinosa, Julio; autores varios: A cuarenta años de Por un cine imperfecto, Cinemateca de Cuba (La Habana: Ediciones ICAIC, 2009).
  • Getino, Octavio: Cine Iberoamericano: Los desafíos del nuevo siglo (Buenos Aires: Ediciones Ciccus, 2007).
  • Givanni, June: “Horace Ové: Reflection on a Thirty-Year Experience,” Black Film Bulletin, Vol. 4, No. 2 (Summer 1996).
  • Givanni, June: “Les Reines du Dancing / The Queens of Dancehall,” Ecrans d’ Afrique, No. 21/22 (3rd-4th quarter), 1997.
  • Glissant, Édouard: El Discurso Antillano (La Habana: Fondo Editorial Casa de las Américas, 2010).
  • Griffith, Fitzgerald: “Film and Censorship in Trinidad and Tobago, With Reference to Bim: A Case Against Censorship” Caribbean Studies Thesis, University of the West Indies, St Augustine, 1978.
  • Hall, Stuart: “Cultural Identity and Diaspora,” (essay) 1996.
  • Higson, Andrew: Waving the Flag, Constructing a National Cinema in Britain (Oxford: Clarendon Press, 1997).
  • Hulme, Peter: “Islands of Enchantment,” New Formations, No. 3 (Winter 1987).
  • Jacobs, Carl: “Trinidad’s Pioneer Movie-Maker,” Sunday Guardian, November 29, 1970.
  • Kangalee, Gerry: “Out of Pain this Culture was Born,” Pan Aficionados, August 21 2008.
  • King, Bruce: Derek Walcott and West Indian Drama (Oxford: Clarendon Press, 1995).
  • Lamming, George: Los Placeres del Exilio (La Habana: Fondo Editorial Casa de las Américas, 2007).
  • Lampolski, Mijaíl: “La Teoría de la Intertextualidad y el Cine,” El pensamiento cultural ruso en criterios, (La Habana: Centro Teórico Cultural Criterios, 2009).
  • Leonce, Helena: “Shared Memory: East Indian Immigration,” November 2010.
  • Lewis, Rupert: “Marcus Garvey’s Global Vision,” Revista Anales del Caribe, Casa de las Américas, 2007.
  • Lieber, Michael: Street Life: Afro-American Culture in Urban Trinidad (Cambridge: Schenkman Publishing Co, 1981.
  • Macedo, Lynne: “The Impact of the Indian Film in Trinidad,” The Society For Caribbean Studies Annual Conference Papers, Courtman, Vol. 3, 2002.
  • Malcom, Derek: “Pressure,” The Guardian, February 16, 1978.
  • Mallo, Silvia: “Mujeres esclavas en América a fines del siglo XVIII: una aproximación historiográfica,” Buenos Aires, Enero 2011.
  • Manuel, Peter; Bilby, Kenneth; Largey, Michael: Caribbean Currents: Caribbean Music from Rumba to Reggae (Philadelphia: Temple University Press, 1995).
  • Mast, Gerald: “Literature and Film,” Interrelations of Literature (JP Barricelli and J Gibaldi, eds.) (New York: Modern Language Association, 1982).
  • Miccichè, Lino: “Teorías y poéticas del nuevo cine,” Cine Cubano, No. 170, 2007.
  • Muñiz Ivón: “Más que pieles negras: Apuntes sobre el Cimarronaje Cultural en el Arte Caribeño Contemporáneo,” Anales del Caribe (La Habana: Centro de Estudios del Caribe, Casa de las Américas, 2007).
  • Nair, Supriya: “Expressive Countercultures and Postmodern Utopia: A Caribbean Context,” Research in African Literatures, Vol. 27, Issue 4 (Winter 1996).
  • Nettleford, Rex: “The Caribbean’s Creative Diversity: The Defining Point of the Region’s History,” Foundation: The Arts & Culture Journal of the Cayman Islands, Vol. 1, No. 1. See also: Nettleford, Rex: “Multiculturalism, the Arts and Nation-Building,” Foundation: The Arts & Culture Journal of the Cayman Islands, Vol. 2, No. 1 & 2.
  • Norris Christopher: Deconstruction: Theory and Practice (London and New York: Methuen, 1982).
  • Notario, Luis; Paddington, Bruce: Explorando el Cine Caribeño (La Habana: Ediciones ICAIC, 2011).
  • Ortiz, Fernando: “Los viejos carnavales habaneros,” Estudios etnosociológicos (La Habana: Editorial Ciencias Sociales, 1991).
  • Otero, Lisandro: “El neorrealismo italiano: la influencia social del cine,” Cine Cubano, No. 182, Oct/Nov 2006.
  • Ové, Horace; Buckler, Robert: “Unseen film,” Daily Mail, September 4, 1976.
  • Paddington, Bruce: “Where Have All the Movies Gone?” Caribbean Beat Vol. 4 (Winter 1992).
  • Paskin, Sylvia: “Going to Meet the Man,” Monthly Film Bulletin, Vol. 54, No. 647, December 1987.
  • Pérez Cuza, Yeiniela: “Isuama y Olugo, lo que la música descubre,” Clave, Año 10, Número 1-2, 2008.
  • Pines, Jim: Representation and Blacks in British Cinema (London: BFI Education, 1991).
  • Pines, Jim; Willeman, Paul (eds): Questions of Third Cinema (London: British Film Institute, 1989).
  • Rugg, Akua: Brickbats and Bouquets: Black woman’s Critique, Literature, Theatre, Film (London: Race Today Publications, 1984).
  • Rohlehr, Gordon: My Strangled City and Other Essays (Port Spain: Longman, 1992).
  • Rony, Fatimah Tobing: The Third Eye: Race, Cinema, and Ethnographic Spectacle (Durham and London: Duke University Press, 1996).
  • Sandapen, Sheila: “Being Black, Becoming British: Contemporary Female Voices in Black British Literature,” A Dissertation Submitted to the School of Graduate Studies and Research in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy, Indiana University of Pensylvania, August 2009.
  • Santana, Astrid: “Memorias del Subdesarrollo y el ámbito de lo literario: Hacia una cartografía de la relación,” Cine Cubano, 173-174, Julio-Diciembre, 2009.
  • Selvon, Samuel: The Lonely Londoners, (Port of Spain and Kingston: Longman Caribbean Limited, 1972).
  • Sherzer, Dina, ed: Cinema, Colonialism, Postcolonialism (Austin: University of Texas Press, 1996).
  • Shohat, Ella; Stam, Robert: Unthinking Eurocentrism: Multiculturalism and the Media (London and New York: Routledge, 1994). Also published as: Multiculturalismo, cine y medios de comunicación: Crítica del pensamiento eurocéntrico (Barcelona: Paidós, 2002).
  • Stam, Robert: “Introduction: The Theory and Practice of Adaptation,” in Robert Stam, Alessandra Raengo (eds.), Literature and Film: A guide to the Theory and Practice of Film Adaptation (London: Blackwell Publishing, 2005).
  • Stuempfle, Stephen: The Steelband Movement: The Forging of a National Art in Trinidad and Tobago (Philadelphia: University of Pennsylvania Press, 1995).
  • Suvelor, Roland: “Elements Historiques pour une Approche Socio-culturelle,” Les Temps Modernes, Vol. 39, No. 441-442 (1983).
  • Szczelkun, Stefan: “British Counter Culture and Film (1960s-70s),” Exploding Cinema 1992–1999 (PhD Thesis, RCA, 2002).
  • Thelwell Michael: The Harder They Come (New York: Grove Press, 1980).
  • Upczak, Emilie: “Audiovisual Production in the Caribbean Islands: New Looks,” Cubanow: The digital magazine of Cuban Arts and Culture, 2012.
  • Upczak, Emilie: “Surreal Communion,” (Review of Eat, For This is My Body, directed by Michelange Quay) The Caribbean Review of Books, August 2008.
  • Velleggia, Susana: La Máquina de la Mirada: los movimientos cinematográficos de ruptura y el cine político latinoamericano, (Santo Domingo: Editorial Búho, 2007).
  • Vertovec, Steven: “Three Meanings of ‘Diaspora,’ Exemplified among South Asian Religions,” Diaspora: A Journal of Transnational Studies, Vol. 6, No. 3 (Winter 1997).
  • Walcott, Derek: Nobel Lecture, December 7, 1992.
  • Wambu, Onyekachi: “Black British Literature since Windrush,” Written to accompany the BBC Windrush season, Summer 1998.
  • Warner, Keith Q.: On Location: Cinema and Film in the Anglophone Caribbean (London: Macmillan, 2000).
  • Waters, Anita M.: Race, Class and Political Symbols: Rastafari and Reggae in Jamaican Politics (New Brunswick: Transaction Publishers, 1989).
  • Williams, Eric: History of the People of Trinidad and Tobago (New York: Praeger Publishers, 1964).
  • Wood, Yolanda: “Lo Colonial en la Arquitectura,” Las Artes Plásticas en el Caribe (La Habana: Editorial Félix Varela, 2006).
  • Wood, Yolanda: “Arte, Religiosidad Popular y Transculturación,” Las Artes Plásticas en el Caribe (La Habana: Editorial Félix Varela, 2006).
  • Yearwood, Gladstone L.: Black Cinema Aesthetics: Issues in Independent Black Filmmaking (Athens: Ohio University Press, 1982).
  • Zobel, Joseph: Black Shack Alley (Washington, DC: Three Continents Press, 1980).

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