Ann Marie Stock, Professor of Hispanic Studies & Film Studies (PhD University of Minnesota), is a specialist in cultural studies and new media. In her scholarship Dr. Stock analyzes the impact of globalization on local representation, the intersection of visual culture and sociopolitical transformation, and the role of film and media in identity formation. Grants from Mellon, MacArthur, NEH, Fulbright and Rockefeller have supported her research in Cuba, Costa Rica, Mexico and elsewhere. She is the author of On Location in Cuba: Street Filmmaking during Times of Transition (UNC Press, 2009) and editor of Framing Latin American Cinema: Contemporary Critical Perspectives. (Univ. of MN Press, 1997. 2009). Dr. Stock is the founder and director of Cuban Cinema Classics, an initiative that makes available subtitled Cuban documentaries in the U.S. She contributes her expertise as programmer and juror with film events including Sundance, Havana Film Festival of New York, and Cinergia (Costa Rica). During 2005-06 she was a Scholar in Residence at the Collegeville Institute for Ecumenical and Cultural Research and a Researcher at the Instituto Cubano de Arte e Industria Cinematográficos (ICAIC) in Havana. At present, she serves as the Reves Faculty Fellow in International Student-Faculty Research at William and Mary, and Director of the College's Washington DC Program devoted to "New Media and Culture in the Nation's Capital" (Fall 2010).
For a video interview with Ann Marie about her recent book, click here:
For a trailer of the documentary on Cuban audiovisual artists being co-created by Ann Marie and M. Troy Davis, click here:
Ann Marie shares her experience of weathering a hurricane in Cuba, and meeting Fidel Castro. Click here:
To read about and view student projects created as part of the New Media Workshop (co-taught by Stock and M. Troy Davis), click the following links:
To read an interview about the author's research on Cuban film and new media, click here:
On Location in Cuba: Street Filmmaking during Times of Transition (2009). Ann Marie Stock.
On Location in Cuba: Street Filmmaking during Times of Transition... "The 1990s were a time of dramatic transformation for Cuba. With the collapse of the Soviet Union, the island nation plummeted into an era of scarcity and uncertainty known as the Special Period, a time from which it emerged only slowly in the new century. On Location in Cuba views these pivotal decades through the lens of cinema. Ann Marie Stock conducted hundreds of interviews and conversations in Cuba to examine individual artists' lives and creative output--including film, video, and audiovisual art. She explores the impact of the Cold War's end, the economic crisis that ensued, and the decentralization of the state's political, economic and cultural apparatus."
"The study is crafted with the nuance of an insider (the result of some 50 research trips to Cuba over a 20-year period), the perspective of an outsider, attuned to contemporary debates about globalization and transnational cinemas, and the commitment of a cultural bridge-builder, looking to increase dialogue and exchange between the U.S. and Cuba...Stock's book is a lively and indispensable guide to this transitional moment in Cuban culture and society." --John King, The Americas
"This is an important work that contributes to broader questions about the response of the Cuban people to this pivotal moment in their island's history...The author addresses the theoretical questions that relate to cinema and identity, and finds intriguing answers in the cultural production of the Cubans themselves." --The Latin American Review of Books
"Covering the important recent cultural debates and the opening up of Cuban screens to new work, On Location in Cuba makes a significant contribution." --Michael Chanan
|Framing Latin American Cinema: Contemporary Critical Perspectives (1997). Ann Marie Stock, editor
"Arguing for a 'postnational critical praxis,' Stock has gathered twelve essays on audiovisual culture in Latin America which, taken together, examine the geopolitical assumptions often underlying audiovisual criticism and the politics of production and reception across cinema's first century." --Kathleen Newman review