![\"FOTO](\"https:\/\/brightstarsmedia.com\/wp-content\/uploads\/2026\/10\/foto-ivan-giroud_3.--e1791340986154-370x370.png\")
\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\tHistorical & Archival Research\t\t\t<\/h5>\n\t\t\n\t\t\n\t\t\t\n\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t98%<\/span>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\t\t\t\n\t\t\t\tCultural Memory & Film History\t\t\t<\/span>\n\t\t\n\t\t\n\t\t\t\n\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t97%<\/span>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\t\t\t\n\t\t\t\tNarrative Nonfiction & Critical Thought\t\t\t<\/span>\n\t\t\n\t\t\n\t\t\t\n\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t95%<\/span>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\t\t\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\t\t\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\t\t\t\tI<\/span>v\u00e1n Giroud is a Cuban essayist, researcher, writer, and cultural manager whose professional career has been closely linked to Latin American cinema and the preservation of its cultural memory. He joined the Cuban Institute of Cinematographic Art and Industry (ICAIC) in the late 1980s, where he developed extensive work in film programming, promotion, research, and cultural management. From 1994 to 2010, he served as director of the Havana International Festival of New Latin American Cinema, one of the region\u2019s most important film events, and later returned to the institution as its president from 2013 to 2021. Throughout these decades, Giroud played a central role in fostering dialogue among filmmakers, critics, historians, and cultural institutions across Latin America, Europe, and the United States.<\/p>His published work reflects a sustained interest in film history, criticism, institutional memory, and the relationship between cinema and society. Among his books are Alfredo Guevara. En el ejercicio de la cr\u00edtica<\/em> (2017), El pretexto de la memoria. Una historia del Festival de Cine de La Habana<\/em> (2018), and La historia en un sobre amarillo. El cine en Cuba (1948\u20131964)<\/em> (2021). He has also contributed to major reference projects such as the Diccionario del cine iberoamericano<\/em> and has collaborated with specialized publications, festivals, archives, and cultural institutions in Europe and the Americas.<\/p>Beyond cinema, Giroud\u2019s writing increasingly explores broader questions of identity, family history, cultural inheritance, and the ways in which private memory intersects with national and transatlantic history. His approach is marked by careful research and a strong narrative sensibility, allowing documents, testimonies, and personal experience to coexist within the same intellectual framework.<\/p>
\u00a0<\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\t\t\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\t\t\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\tDiscover Your Next Book<\/span><\/h2><\/div>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\t\t\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\t\t\t- New Releases<\/a><\/li>
- Best Sellers<\/a><\/li>
- Award Winners<\/a><\/li>
- Coming Soon<\/a><\/li>\t\t\t<\/ul>\t<\/div><\/span>\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/span><\/span><\/span><\/a>\n\t\t\t<\/div>
Noches de olvidos y desvelos<\/a><\/h5><\/div><\/div><\/div><\/div><\/span>\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/span><\/span><\/span><\/a>\n\t\t\t<\/div>El latido constante<\/a><\/h5><\/div><\/div><\/div><\/div><\/span>\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/span><\/span><\/span><\/a>\n\t\t\t<\/div>Sin guion previo. Conversaciones en Cuba con gente de cine<\/a><\/h5><\/div><\/div><\/div><\/div><\/span>\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/span><\/span><\/span><\/a>\n\t\t\t<\/div>El Kybali\u00f3n. Edici\u00f3n cr\u00edtica comentada<\/a><\/h5><\/div><\/div><\/div><\/div><\/span>\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/span><\/span><\/span><\/a>\n\t\t\t<\/div>Cr\u00f3nicas del naufragio<\/a><\/h5><\/div><\/div><\/div><\/div><\/span>\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/span><\/span><\/span><\/a>\n\t\t\t<\/div>Havana Lux<\/a><\/h5><\/div><\/div><\/div><\/div><\/span>\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/span><\/span><\/span><\/a>\n\t\t\t<\/div>El silencio del estanque<\/a><\/h5><\/div><\/div><\/div><\/div><\/span>\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/span><\/span><\/span><\/a>\n\t\t\t<\/div>La maldici\u00f3n del faro<\/a><\/h5><\/div><\/div><\/div><\/div>
I<\/span>v\u00e1n Giroud is a Cuban essayist, researcher, writer, and cultural manager whose professional career has been closely linked to Latin American cinema and the preservation of its cultural memory. He joined the Cuban Institute of Cinematographic Art and Industry (ICAIC) in the late 1980s, where he developed extensive work in film programming, promotion, research, and cultural management. From 1994 to 2010, he served as director of the Havana International Festival of New Latin American Cinema, one of the region\u2019s most important film events, and later returned to the institution as its president from 2013 to 2021. Throughout these decades, Giroud played a central role in fostering dialogue among filmmakers, critics, historians, and cultural institutions across Latin America, Europe, and the United States.<\/p> His published work reflects a sustained interest in film history, criticism, institutional memory, and the relationship between cinema and society. Among his books are Alfredo Guevara. En el ejercicio de la cr\u00edtica<\/em> (2017), El pretexto de la memoria. Una historia del Festival de Cine de La Habana<\/em> (2018), and La historia en un sobre amarillo. El cine en Cuba (1948\u20131964)<\/em> (2021). He has also contributed to major reference projects such as the Diccionario del cine iberoamericano<\/em> and has collaborated with specialized publications, festivals, archives, and cultural institutions in Europe and the Americas.<\/p> Beyond cinema, Giroud\u2019s writing increasingly explores broader questions of identity, family history, cultural inheritance, and the ways in which private memory intersects with national and transatlantic history. His approach is marked by careful research and a strong narrative sensibility, allowing documents, testimonies, and personal experience to coexist within the same intellectual framework.<\/p>Discover Your Next Book<\/span><\/h2><\/div>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
Noches de olvidos y desvelos<\/a><\/h5><\/div><\/div><\/div><\/div>
El latido constante<\/a><\/h5><\/div><\/div><\/div><\/div>
Sin guion previo. Conversaciones en Cuba con gente de cine<\/a><\/h5><\/div><\/div><\/div><\/div>
El Kybali\u00f3n. Edici\u00f3n cr\u00edtica comentada<\/a><\/h5><\/div><\/div><\/div><\/div>
Cr\u00f3nicas del naufragio<\/a><\/h5><\/div><\/div><\/div><\/div>
Havana Lux<\/a><\/h5><\/div><\/div><\/div><\/div>
El silencio del estanque<\/a><\/h5><\/div><\/div><\/div><\/div>
La maldici\u00f3n del faro<\/a><\/h5><\/div><\/div><\/div><\/div>