Susan Lord is Professor of Film and Media in the Cultural Studies Graduate Program and Director of the Vulnerable Media Lab at Queen's University. She is co-editor of Killing Women: The Visual Culture of Gender and Violence; New World Coming: The Sixties and the Shaping of Global Consciousness; and Fluid Screens, Expanded Cinema. As a member of the editorial collective for the journal Public: Art, Culture, Ideas, she has co-edited the issues "Havana" and "Archive/Counter-Archives". María Caridad Cumaná taught Film and Television at the University of Havana for 15 years. She was Chief Coordinator for the Audiovisual Portal for Latin American and Caribbean Cinema at the Foundation of New Latin American Cinema, co-authored A Look at Cuban Cinema, Latitudes of the Margin: Latin American Cinema before the Third Millennium, and co-edited My Havana: The Musical City of Carlos Varela. She was Field Producer in Havana for the documentary Out My Windows (NFB). She is currently an Adjunct Faculty at Miami Dade College.

The release of this important critical anthology, alongside the release of the restorations, reinstates the work of Sara Gomez in the living archive of women film-makers and allwos her reintroduction into archives and counterarchives of Latin American cinema.- Juana Suarez - NYU MAP (Film Quarterly) A must-read for those researching and teaching feminist documentaries, decolonial ethnography, and the histories of Latin American Cinema.- Leticia Berrizbeitia Añez (Jump Cut)

• Introduction: New Women, Old Worlds, by Susan Lord1. We have a vast public . . . .": Interview for Pensamiento Critico by Sara Gómez Yera2. "Sara is so very Sara!": Inés María Martiatu Terry Interviewed by Lourdes Martínez-Echazábal, by Inés María Martiatu Terry and Lourdes Martínez-Echazábal3. Inquisitive Gazes: Sara Gómez's Perspectives on Social Marginality from and within the Cuban Revolution, by Odette Casamayor-Cisneros4. Sergio Giral Interviewed by María Caridad Cumaná, by Sergio Giral and María Caridad Cumaná5. "Neither Farms nor Coffee Plantations . . .": Urban Spaces and Cultural Contours in the Script and on the Screen, by Víctor Fowler Calzada6. Residential Miraflores: (Script for De cierta manera/One way or another), by Sara Gómez Yera and Tomás Gonzalez7. Luis García Mesa Interviewed by Lourdes Martínez-Echazábal and María Caridad Cumaná, by Luis García Mesa, Lourdes Martínez-Echazábal, and María Caridad Cumaná8. Sara Gómez: AfroCubana (Afro-Cuban Women's) Activism after 1961, by Devyn Spence Benson9. Racial Identity and Collisions: Gómez and Guillén Landrián, by María Caridad Cumaná10. Rigoberto López Interviewed by Victor Fowler Calzada, by Rigoberto López and Víctor Fowler Calzada11. Information and Education: Sara Gómez and Nonfiction Film Culture of the 1960s, by Joshua Malitsky12. Virtual Heroes in the Midst of Shortage: Sara Gómez Confronts the New Man, by Ana Serra13. Iván Arocha Montes de Oca Interviewed by Ricardo Acosta, by Iván Arocha Montes de Oca and Ricardo Acosta14. Sabor and Punctum: Music in Sara Gómez's Films, by Alan West-Durán15. The Santiago of Two Pilgrims: F. G. Lorca and Sara Gómez in Search of Eastern Cuba, by Lourdes Martínez-Echazábal16. Her Contribution, by Sandra Abd'Allah-Alvarez Ramírez17. Conclusion: Transculturation, Gender, and Documentary, by Susan LordEpilogue: "As time goes by, we are less of a polite, aesthetic, static, sexual, and passive object . . .": Sara Gómez Yera Interviewed by Marguerite DurasFilmographyIndex

Susan Lord is Professor of Film and Media in the Cultural Studies Graduate Program and Director of the Vulnerable Media Lab at Queen's University. She is co-editor of Killing Women: The Visual Culture of Gender and Violence; New World Coming: The Sixties and the Shaping of Global Consciousness; and Fluid Screens, Expanded Cinema. As a member of the editorial collective for the journal Public: Art, Culture, Ideas, she has co-edited the issues "Havana" and "Archive/Counter-Archives". María Caridad Cumaná taught Film and Television at the University of Havana for 15 years. She was Chief Coordinator for the Audiovisual Portal for Latin American and Caribbean Cinema at the Foundation of New Latin American Cinema, co-authored A Look at Cuban Cinema, Latitudes of the Margin: Latin American Cinema before the Third Millennium, and co-edited My Havana: The Musical City of Carlos Varela. She was Field Producer in Havana for the documentary Out My Windows (NFB). She is currently an Adjunct Faculty at Miami Dade College.

The release of this important critical anthology, alongside the release of the restorations, reinstates the work of Sara Gomez in the living archive of women film-makers and allwos her reintroduction into archives and counterarchives of Latin American cinema.- Juana Suarez - NYU MAP (Film Quarterly) A must-read for those researching and teaching feminist documentaries, decolonial ethnography, and the histories of Latin American Cinema.- Leticia Berrizbeitia Añez (Jump Cut)

• Introduction: New Women, Old Worlds, by Susan Lord1. We have a vast public . . . .": Interview for Pensamiento Critico by Sara Gómez Yera2. "Sara is so very Sara!": Inés María Martiatu Terry Interviewed by Lourdes Martínez-Echazábal, by Inés María Martiatu Terry and Lourdes Martínez-Echazábal3. Inquisitive Gazes: Sara Gómez's Perspectives on Social Marginality from and within the Cuban Revolution, by Odette Casamayor-Cisneros4. Sergio Giral Interviewed by María Caridad Cumaná, by Sergio Giral and María Caridad Cumaná5. "Neither Farms nor Coffee Plantations . . .": Urban Spaces and Cultural Contours in the Script and on the Screen, by Víctor Fowler Calzada6. Residential Miraflores: (Script for De cierta manera/One way or another), by Sara Gómez Yera and Tomás Gonzalez7. Luis García Mesa Interviewed by Lourdes Martínez-Echazábal and María Caridad Cumaná, by Luis García Mesa, Lourdes Martínez-Echazábal, and María Caridad Cumaná8. Sara Gómez: AfroCubana (Afro-Cuban Women's) Activism after 1961, by Devyn Spence Benson9. Racial Identity and Collisions: Gómez and Guillén Landrián, by María Caridad Cumaná10. Rigoberto López Interviewed by Victor Fowler Calzada, by Rigoberto López and Víctor Fowler Calzada11. Information and Education: Sara Gómez and Nonfiction Film Culture of the 1960s, by Joshua Malitsky12. Virtual Heroes in the Midst of Shortage: Sara Gómez Confronts the New Man, by Ana Serra13. Iván Arocha Montes de Oca Interviewed by Ricardo Acosta, by Iván Arocha Montes de Oca and Ricardo Acosta14. Sabor and Punctum: Music in Sara Gómez's Films, by Alan West-Durán15. The Santiago of Two Pilgrims: F. G. Lorca and Sara Gómez in Search of Eastern Cuba, by Lourdes Martínez-Echazábal16. Her Contribution, by Sandra Abd'Allah-Alvarez Ramírez17. Conclusion: Transculturation, Gender, and Documentary, by Susan LordEpilogue: "As time goes by, we are less of a polite, aesthetic, static, sexual, and passive object . . .": Sara Gómez Yera Interviewed by Marguerite DurasFilmographyIndex

Susan Lord is Professor of Film and Media in the Cultural Studies Graduate Program and Director of the Vulnerable Media Lab at Queen's University. She is co-editor of Killing Women: The Visual Culture of Gender and Violence; New World Coming: The Sixties and the Shaping of Global Consciousness; and Fluid Screens, Expanded Cinema. As a member of the editorial collective for the journal Public: Art, Culture, Ideas, she has co-edited the issues "Havana" and "Archive/Counter-Archives". María Caridad Cumaná taught Film and Television at the University of Havana for 15 years. She was Chief Coordinator for the Audiovisual Portal for Latin American and Caribbean Cinema at the Foundation of New Latin American Cinema, co-authored A Look at Cuban Cinema, Latitudes of the Margin: Latin American Cinema before the Third Millennium, and co-edited My Havana: The Musical City of Carlos Varela. She was Field Producer in Havana for the documentary Out My Windows (NFB). She is currently an Adjunct Faculty at Miami Dade College.

The release of this important critical anthology, alongside the release of the restorations, reinstates the work of Sara Gomez in the living archive of women film-makers and allwos her reintroduction into archives and counterarchives of Latin American cinema.- Juana Suarez - NYU MAP (Film Quarterly) A must-read for those researching and teaching feminist documentaries, decolonial ethnography, and the histories of Latin American Cinema.- Leticia Berrizbeitia Añez (Jump Cut)

• Introduction: New Women, Old Worlds, by Susan Lord1. We have a vast public . . . .": Interview for Pensamiento Critico by Sara Gómez Yera2. "Sara is so very Sara!": Inés María Martiatu Terry Interviewed by Lourdes Martínez-Echazábal, by Inés María Martiatu Terry and Lourdes Martínez-Echazábal3. Inquisitive Gazes: Sara Gómez's Perspectives on Social Marginality from and within the Cuban Revolution, by Odette Casamayor-Cisneros4. Sergio Giral Interviewed by María Caridad Cumaná, by Sergio Giral and María Caridad Cumaná5. "Neither Farms nor Coffee Plantations . . .": Urban Spaces and Cultural Contours in the Script and on the Screen, by Víctor Fowler Calzada6. Residential Miraflores: (Script for De cierta manera/One way or another), by Sara Gómez Yera and Tomás Gonzalez7. Luis García Mesa Interviewed by Lourdes Martínez-Echazábal and María Caridad Cumaná, by Luis García Mesa, Lourdes Martínez-Echazábal, and María Caridad Cumaná8. Sara Gómez: AfroCubana (Afro-Cuban Women's) Activism after 1961, by Devyn Spence Benson9. Racial Identity and Collisions: Gómez and Guillén Landrián, by María Caridad Cumaná10. Rigoberto López Interviewed by Victor Fowler Calzada, by Rigoberto López and Víctor Fowler Calzada11. Information and Education: Sara Gómez and Nonfiction Film Culture of the 1960s, by Joshua Malitsky12. Virtual Heroes in the Midst of Shortage: Sara Gómez Confronts the New Man, by Ana Serra13. Iván Arocha Montes de Oca Interviewed by Ricardo Acosta, by Iván Arocha Montes de Oca and Ricardo Acosta14. Sabor and Punctum: Music in Sara Gómez's Films, by Alan West-Durán15. The Santiago of Two Pilgrims: F. G. Lorca and Sara Gómez in Search of Eastern Cuba, by Lourdes Martínez-Echazábal16. Her Contribution, by Sandra Abd'Allah-Alvarez Ramírez17. Conclusion: Transculturation, Gender, and Documentary, by Susan LordEpilogue: "As time goes by, we are less of a polite, aesthetic, static, sexual, and passive object . . .": Sara Gómez Yera Interviewed by Marguerite DurasFilmographyIndex