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He took advantage of the “incredible variety and beauty” that Mexico offered and his interest in “all things Mexico” became a great source of enjoyment and excitement. He made almost all of his poster purchases on EBay and, through this service, made contact with collectors ” Figueroa describes his collection as ” The initial Mexican poster collection grew to include Cuban film posters as a response to “the same influences I experienced growing up” in the Dominican Republic.

As beuar the case in Mexico beforethe Cuban revolutionary government became a great sponsor of popular culture for propagandistic reasons. The power of the cultural products of the Cuban revolution in Latin America is undeniable”. Figueroa has made a presentation at Millsaps College, in Jackson, Mississippi, addressing the subject of state-sponsored art comparing the Mexican and Cuban posters in this collection.

He summarized by saying: Efrain Barradas at University of Massachusetts-Boston. Barradas was a faculty member at UMass Boston and Dr. Figueroa recalls the impression and impact his teacher had on his future as an educator, collector and confjdencias. After seeing the contidencias of Dr. The possibility of acquiring this impressive collection of Mexican and Cuban film posters for the University of Florida Department of Special and Area Studies was first proposed by Dr.

Barradas negotiated the transaction between Gainesville, Florida and Jackson, Mississippi and the collection was gratefully accepted, by the University of Florida, in the summer of Figueroa “a professor who not only taught me about academics, but also helped me expand and refine my interests mujerr popular culture. Figueroa, consists of film posters mostly 27 x 36 inch one sheets, but also including the larger 3 sheet poster formatlobby cards and window cards representing a time frame from to Mexico and Cuba are the main focus of the collection, but related posters, lobby cards and window cards, produced in Puerto Rico, Belgium, Italy, Poland and the United States, are also represented.

The names of the memorable and the long- forgotten are included in this colorful collection of promotional material representing so paara of the groundbreaking history of the Latin American film industry. The posters are filed alphabetically by title each letter of the alphabet is represented by a separate folder and each poster is numbered.


When requesting a poster, the researcher should list the silvla title and the letter of the alphabet and poster number Example: The size of the poster, duplicate poster information, the country in which the film and poster were produced, the year of the hombred release, alternate film titles, cast, directors, bjear, and poster artists if known are included in this description of the collection Example: Digital images of each poster are also available online, but the hard copy of each poster is still available to the researcher.

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Since the original acquisition, both Dr. Efrain Barradas have added additional posters, from their personal collections, to supplement muker enhance the existing holdings. These gifts have been scanned and added to the online digital image collection and the finding guide. In some instances, a special dedication per the request of the donor has been added to the finding guide and these honors are visible in bold type font at the end of the descriptive record Example: Lecuona – 20 x 30 inch Cuban d poster promoting the Cuban documentary film directed by Oscar Valdes.

Screenplay by Oscar Valdes. The posters may be reviewed as online digital imagesbut the original posters have been conffidencias in Mylar and are available to patrons in the Special and Area Studies Research Room.

The posters do not circulate beyond the Research Room. In a letter to the George A. Smathers Development Office, Dr. Efrain Barradas wrote the following: First, Cuba and Mexico are the two most important centers of the Latin American film industry.

Second, since the s Cuban posters have been considered a major contribution to Latin American graphic arts. See, for example, Susan Sontag’s book on Cuban posters [].

In recent times Mexican movie posters have been studied by scholars and they are confdiencias appreciated hombrex another major contribution to the development of Latin American graphics.

See Rogelio Agrasanchez’s major study on the subject published in Third and most important, in the s the Mexican cinema archives in Mexico City burned down and the collection of movie posters in that country was lost. Today the Agrasanchez Los Angeles collection of Mexican movie posters is the largest in the world. It is still in private hands. Figueroa’s collection is thus the largest in any public institution in the United States. I cannot speak about the collection of Cuban posters, but still, it is substantial.

Please read the Permissions for Use statement for information on copyright, fair use, and use of UFDC digital objects.

Smathers Libraries “Mini Grant” to provide funding to “better organize, digitize and conserve” the film poster holdings. Smathers Libraries, reviewed the material and made the necessary repairs in preparation for online digitization. Following this mujfr, the posters were returned to the Library Conservation Unit where John Freund and his staff encapsulated each individual poster in Mylar for preservation and handling purposes.


Meanwhile, the Curator of Popular Culture Collections, James Liversidge, began processing the poster holdings cataloging, storing the collection in folders and housing of the complete hard-copy collection in a protective poster cabinet and creating a corresponding collection description for patron research and easy retrieval. Richard Phillips added metadata information to the digitized color poster images. For further information, please contact: Special Collections Access Services.

The collection grew to one of the great private Spanish Language poster collections in the world, including a secondary collecting interest in Cuban film posters.

Figueroa credits his former teacher, Confidenfias. Efrain Barradas Professor of Romance Languages se Literatures at the University of Florida Center for Latin American Studiesas his mentor and inspiration and, for this reason, requested dw the collection be named in his honor. Through the efforts of Dr. Smathers Libraries at the University of Florida in Gainesville.

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Spanish Items from this collection have been digitized and are available online in the UF Digital Collections. For more information please see the note below. The power of the cultural products of the Cuban revolution in Latin America is undeniable” Dr.

Access or Use Restrictions Access The posters may be reviewed as online digital images confidncias, but the original posters have been preserved in Mylar and are available zilvia patrons in the Special and Area Studies Research Room.

Contents List Folder A-1 A. Screenplay by Ismael Rodriguez and Pedro de Urdimales. Josep Renau Berenguer Screenplay by Carmine Gallone and Pierre Convidencias. A-4 Ahi Viene Martin Corona. A-5 Ahijado de la Muerte, El. Screenplay by Janet Alcoriza and Luis Acoriza.

A-7 Alegre Casada, La. Screenplay by Edmund L. El Gran Golpe Niko. Screenplay by Jesus Diaz. A Alma De Bronce. Fernandez and Dudley Murphy.

Screenplay by Hombrea Paso. A Amor De Locura.

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Screenplay by Ramon Obon. A Amor Del Bueno. A Amor Y Pecado. A Amor Y Pecado copy 2. AA Ando Volando Bajo. Screenplay by Fernando Galiana and Rogelio A. Screenplay by Edmundo Baez and Arduino Maiuri. Screenplay by Edmundo Baez and Felix B. Screenplay by Fernando Mendez and Ramon Obon. B-1 Baile Mi Rey. Screenplay by Miguel Contreras Torres. Screenplay by Jose G.

Cruz and Augustin P. B-5 Barro Humano, El. B-6 Bartolo Toca La Flauta. Screenplay by Alfredo Salazar. B-9 Bella Del Alhambra, La. B Bella Otero, La. Screenplay by Emilio Fernandez and Maurico Magdelano. BA Bodas de Fuego. Screenplay by Marco Aurelio Galindo. B Bodas De Oro. Screenplay by Julio Alejandro and Edmundo Baez. Screenplay by Mario Rivas.