Abstract
Considering that the construction of a 'communal identity' has been imperative throughout the Cuban Revolution and that Cuban cinema has generally portrayed Cuban women as revolutionary heroines or cadres, the main purpose of this article is to explore through the film Madagascar how the representation of women has been transformed in light of the dramatic social and political upheavals of the 'special period'. In this film, the director Fernando Perez, examines 'un viaje interno' ('an inner journey') through women's eyes, thus marking a dramatic shift in the focus of Cuban cinema away from an emphasis upon a communal identity in the revolutionary struggle, and more towards an exploration of women's subjectivities and multiple identities. These changes take place within an overall realignment of Cuban identity. With the demise of continental communism and the Soviet Union, questions pertaining to individual identity have now become pertinent and pressing - there is no longer a faithful big brother with whom Cuba can identify itself.
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