Cinematic Voyages: Québécois Transnational Filmmaking and Cuban Domesticity
Bibliographic record
Abstract
This dissertation follows scholarship on transnational film studies, tourism studies, and film and media ethnography to examine Québécois feature films that directly address the issue of international tourism to the island while proposing alternatives to both translocal filmmaking and touristic practices. I investigate the involvement of domestic hospitality businesses in Cuba (paladares, private restaurants located in family households, and casas particulares, bed-and-breakfast-type hostels) as unofficial partners in transnational film productions between Québec and Cuba, namely in the films All you can eat Buddha (Ian Lagarde, 2017), Cuba Merci Gracias (Alex B. Martin, 2018) and Sur les toits Havane (Pedro Ruiz, 2019). I contend that these films constitute cinematic voyages, i.e., the intuitive application of entrepreneurial tactics to leisure and cultural travels, personal affective relations, and domestic spaces and activities in Cuba towards the completion of independent transnational film projects. \n \nEach chapter foregrounds Cuban domesticity in the different capacities it interacts with foreign film and media productions originating from Québec. The first chapter traces the antecedents of these practices and how domesticity appears as an infrastructure and thematic preoccupation that propitiates grassroots forms of cultural diplomacy based predominantly on the creative labor of migrant women. The second chapter examines the flexibility of casas particulares in Cuba as they develop skills, adapt their spaces, and employ local knowledges and workforces to meet the needs of foreign film enterprises. This flexibility results from performing multiple gestures of transborder and transcultural, gendered identifications, acts of solidarity and material care between otherwise unrelated laboring subjects working on location. In the third chapter, I analyze a Québécois road movie and how it turns the domestic into a gendered transnational social space with a matrifocal character. The fourth chapter argues that the process of Latinx-Québécois transnational filmmaking exists in a continuum with the spectral position imposed by the Cuban socialist regime on homosexual identities, transcultural/multiracial affective and sexual arrangements, private tourism venues, and para-legal domestic practices. I contend that latinidad/latinité in Québec and queer/alternative domesticities in Cuba appear as translocal objects negotiated and refashioned through a distinctive Afro-Queer-Caribbean positionality against their respective hostile environments.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.001 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.002 |
| Science and technology studies | 0.011 | 0.004 |
| Scholarly communication | 0.006 | 0.002 |
| Open science | 0.001 | 0.002 |
| Research integrity | 0.001 | 0.001 |
| Insufficient payload (model declined to judge) | 0.009 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".