Abstract
This essay focuses on the interface between praxis and theory in Hispanism in the twenty-first century. The author describes the ways in which his experience making documentary films at the Escuela Internacional de Cine y Televisión in San Antonio de los Baños in Cuba led him to re-evaluate the way in which he taught theoretical and historical film courses at University College London. This led him, for example, to introduce a filmmaking exercise based on the Kuleshov Effect which provides the students with a better understanding of the mechanics of editing, or montage, within a given film. The essay turns to a discussion of difference between analogue and digital film and concludes with a comparison between Carl Dreyer's Ordet (1955) Carlos Reygadas' Stellet licht (2007).
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