It seems insignificant details, and it is difficult to understand outside the scope that it can have. Let
yet: Imagine for a moment that you have any source of information for two daily small-format, four sheets each, say the Journal of the Elysée, Matignon and the newspaper;
imagine that there are only four public television stations, serving as spokesman for the government, and without editorial freedom.
Imagine your media universe is reduced to that, to the exclusion of any other nongovernmental source of information.
And in this media space reduces suddenly, a TV news reporter (the same on all channels) will tell you with certainty that " anyway, in our country, everybody knows that nobody lives on his salary .
The surprise is that this is partly true, but that's not what we show usual Cuban media. It is a truth implied an open secret embarrassing, a stubborn fact which does not bow to the speech.
It's as if suddenly the Cuban media began to reflect everyday reality, not only its successes but also failures. As public recognition, removing the mask.
And the next day, the same goes prime-time television Suite Habana, a long silent documentary by Fernando Perez, who follows the difficult lives of a dozen residents of the capital, between resignation and hope. Widely
winning abroad acclaimed during his short spell at the cinema four years ago, this film was part of a list of some thirty Cuban recent productions that never aired on national television.
hard to know what these details. But there as a relief to see reality and its representation coincide media a bit.
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