U.S. diplomatic policy toward Cuba

The CIA had an operations headquarters in Miami seen by many as a state at bottom a city because it was over, above, and outside the laws of the United States as sound as of the international community. The headquarters had a permanent provide in excess of 300 Americans directed a hardly a(prenominal) thousand Cuban agents in different actions, with a cipher of more than $50 million a year (Blum 210). In 1961, Kennedy unveiled a program known as the alliance for Progress, conceived as a direct response to Castro's Cuba. It was intended to splay that genuine social salmagundi could pass on place in latin America without the need for revolution or socialism. It would also become part of the ongoing CIA effort to discredit the Cuban government, an effort that would extend long past the Bay of Pigs and the Cuban Missile Crisis (Blum 214-215).

Over the next three decades, some touch for a change in the way the U.S. viewed Cuba, while others demanded that Cuba continue to be treated as an outlaw state. The economy of Cuba has act to deteriorate and to encounter problems in the 1990s. Cuba has been less able to play international assistance now that the Soviet Union has changed and has been pressured by the United States to remove troops and other personnel from Cuba. The crisis caused the Cuban government to relax certain restrictions and to consider a reverberation to some enterprises tha

There has been a history of the relations between the U.S. and Cuba in terms of demand. During the Spanish-American War, American companies produced propaganda films purportedly showing scenes from the war however actually quill in the U.S. As the American film industry unquestionable in its early years, independent companies avoided the watchful eye of the Edison action Picture patents Company, which tried to prevent anyone from using its technology to induct a picture, by moving to Cuba for filming. Eventually, these independents found it easier to move to California.

Attempts were do from time to time to establish a national Cuban film industry that could compete with entrenched foreign companies, but these efforts failed and were largely abandoned after the dawn of sound:

forward the revolution, cinemas only existed in the capital and major cities, and it was only film from Hollywood. After the revolution, our first goal was to place democracy in the production and distribution of film. Acquire cinema from all nearly the world. Not only the films from the biggest cities would be exhibited in the biggest movie theaters, just the best films, regardless of where they are from. We developed mobilecinemas to take films to the rural areas. Cuban cinema was directed to an informed audience, non a public exposed to only one dissever of cinema ("History Of Cuban Film Industry").

Disarmed by its complexity and inventiveness, by its sophisticated wit and sympathetic characterization of its bourgeois protagonist, U.S. critics greeted the film with ringing praise (Burton 123).

Two of those who strange Batista and who would become prominent in ICAIC were Julio Garcia Espinoza and Tomas Gutierrez Alea. Espinoza says of that time that he and Alea off to clandestine cinema until the revolution:

Even though Cuba has been changing some policies, this has not been enough to make the United States change its mind about refusing to allow U.S. businesses to deal with Cuba.
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