Pensamos que somos historia porque sabemos que somos historia: context, self and self-construction in women's testimonial writing from revolutionary Cuba

This article presents a group of women-authored testimonial texts published between 1959–1989 in revolutionary Cuba. Despite the recent scholarly debates within Latin American Cultural Studies regarding Latin American testimonio, these texts have received little or no critical or theoretical attention within or outside Cuba. The article therefore starts by situating them within the specific context of revolutionary culture, especially with reference to questions of gender, genre and publication. Having established that the texts as a whole privilege the collective revolutionary context and revolutionary experience over gendered or generic aspects, the seven texts are then grouped under a more specific contextual category, as narratives of voluntary work (participation and observation), in order to provide a clearer structure for their description and analysis. Each of the texts is then described within its sub-group, and the article ends by indicating how such texts challenge testimonio paradigms by positing a relational notion of subjectivity.

The zero, the centre and the empty utopia: from Rossellini to Walter Salles

This article examines utopian gestures and inaugural desires in two films which became symbolic of the Brazilian Film Revival in the late 1990s: Central Station (1998) and Midnight (1999). Both evolve around the idea of an overcrowded or empty centre in a country trapped between past and future, in which the motif of the zero stands for both the announcement and the negation of utopia. The analysis draws parallels between them and new wave films which also elaborate on the idea of the zero, with examples picked from Italian neo-realism, the Brazilian Cinema Novo and the New German Cinema. In Central Station, the ‘point zero’, or the core of the homeland, is retrieved in the archaic backlands, where political issues are resolved in the private sphere and the social drama turns into family melodrama. Midnight, in its turn, recycles Glauber Rocha’s utopian prophecies in the new millennium’s hour zero, when the earthly paradise represented by the sea is re-encountered by the middle-class character, but not by the poor migrant. In both cases, public injustice is compensated by the heroes’ personal achievements, but those do not refer to the real nation, its history or society. Their utopian breadth, based on nostalgia, citation and genre techniques, is of a virtual kind, attune to cinema only.