Tras el telón del celuloide: Acercamientos al cine cubano Editorial Primigenios
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Nota del editorAntes de ser derrotados y capturados por el enemigo, el guerrero japones bajo el código bushido debe morir con honra y honor, para ello debía tomar la tantö y eviscerarse el abdomen de izquierda a derecha, para cumplir el ritual del seppuku. Antonio Enrique González Rojas nos obliga a recordar ese acto en cada párrafo de este corto y profundo libro. La crítica cinematográfica es una creación del lenguaje, es algo que no existe, pero que tiene que sostenerse por si misma. Lo difícil es, precisamente la vida de la crítica en sí misma.El crítico de cine al escribir, también hace cine, organiza el pensamiento, genera dudas y estimula al espectador-lector. Cuando esto no se reconoce, lo que se produce es un vicio que alimenta el desdén y excluye la autocrítica. Ahora tomo la daga tantö y eviscero un pensamiento medular de "Tras el telón del celuloide", lo cito a sabiendas que no tendré que recurrir a otro truco más de los que usamos los prologuistas: "El poder recién establecido, juvenil, telúrico, estaba enfrascado en una operación de alquimia social casi instantánea que confundía matices con imperdonables manchas, demarcando una polaridad en igualmente paroxístico ritmo de consolidación intransigente e intolerante respecto a todo lo que difiriera de la línea dura, que entonces solo comenzaba a endurecerse". (Antonio Enrique González Rojas)Si usted es un lector de crítica cinematográfica que escapa de las formas y el contenido, que deambula entre la denotación y la connotación sin llegar al aspecto estético de esos cientos de minutos de una cinta, no abra este libro. Porque el amor por una película está en la escritura. Al final - esta, la nueva crítica cinematográfica cubana-, hará posible las necesarias transformaciones al cine cubano. Es un asunto de honor y honra bajo el código del arte. Eduardo René Casanova EaloEditorial Primigenios
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