Berceau by Éric Laurrent

By Éric Laurrent

Entre avril 2012 et septembre 2013, je me suis rendu une vingtaine de fois au Maroc. Pour y retrouver un enfant. Un enfant abandonné. Mon fils.

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M. Music, thus, functions equivocally here: it is both a reductive marker of a space and its protective barrier. M. renders spaces cast by the logic and currents of leisurely consumption, yet these spaces also intersect a localized social order that favors the popular musician as creator, commentator, and agent of the cultural, instead of the elite intellectual and the type of cultural forms and uses that he or she may promote and defend. M. may provide a view upon marginal cultural institutions with their own corresponding notions of authority.

An older woman eats a sandwich and appears to point at the camera right before a quick cut takes us to another patron. A young black man and white woman sit together at a table. The man blissfully pours a beer, while, as the woman drinks, she looks slyly at the camera from over the rim of her glass. She slowly looks away. More shots of the guiro player, stepping feet, and then a woman with long hair and a white dress gestures angrily next to the bar. Shouts erupt, others follow. The music stops.

Part II Revolution and Its Specters Chapter 3 On the Margins of Reality: Fiction, Documentary, and Marginal Subjectivity in Three Early Cuban Revolutionary Films Dylon Robbins La nuestra es una realidad rica, constante, en movimiento, vivimos en un país en Revolución y hacemos cine documental: una generación de realizadores que se forma en una industria surgida de la Revolución. ) Nicolás Guillén Landrián1 What is opposed to fiction is not the real; it is not the truth which is always that of the masters or colonizers; it is the story-telling function of the poor, in so far as it gives the false the power which makes it into a memory, a legend, a monster.

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