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Table of Contents
Acknowledgments; Contents; List of Figures ; Chapter 1: Imperfect Cinema and Making Do; Imperfect Aesthetics; Imperfect Aesthetics and the Public Sphere; Notes; Chapter 2: Late Socialism, the Special Period, and Film and Media Practice; Temporalities of Late Socialism; Modernization and Late Socialism; Creative Adaptations to the Global, or, Modernity's Long Durée; Notes; Chapter 3: Mourning the Revolution: Melodrama and Temporality in Late Socialist Narrative Cinema; Cinematic Publicness and the Special Period; Collective "Loss of Coherency": Melodrama and Late Socialism
Melodrama after the Soviet Union: Miel para OshúnIdeology and the Maternal Melodrama; Too Late for Revolution: The Temporality of Late Socialism; The Global Force of Melodrama; Conclusions: Melodrama as Ideological Refuge; Notes; Chapter 4: Localizing the Global: Transnational Filmmaking at EICTV; Introduction; The School of Three Worlds; Rural immersion and Experiential Filmmaking in the Sierra Maestra; Indexing the Post-Soviet in Rural Cuba; Sigue luchando-Subsistence and the Muted National; From Three Worlds to Every World: Expanding Cuba's Cinematic Gaze; Global Views of Late Socialism
Surveillance, Propaganda, InertiaTemporality and the Labor of Making Do; Conclusions; Notes; Chapter 5: Negotiated Endurance: Rural Film Production and Improvised Cinema at Televisión Serrana; Introduction; Audio-Visual Production in the Late Socialist Period: TVS; Interrogating the Local in TVS films; Talking Heads and Direct Address; Broken Cinema and Repair Tactics: Mobile Cinema in the 2000s; Delays, Repairs and Improvisation: mobile cinema after the Soviet collapse; Bodies, Materiality and "Re-making" Modernity; Como Por primera vez and the Residual New Man
Conclusions: Alternative Modernities and Negotiated EnduranceNotes; Chapter 6: One Must Invent: Tactical Aesthetics and Imperfect Design; Ernesto Oroza and Technological Disobedience; The Rhetoric of Industry and Invention within the Revolution; Improvised Communications: Radio and Internet Hacks; Micro Politics in the Home; Film Theory Beyond Film: On Imperfect Design; From Critical Spectators to Critical Designers; "Worker Build Your Machine": Exporting Technological Disobedience; Cuban Hacks as Film Study; Novelty and New (Old) Media Technologies; Cuba Calling; Conclusions; Notes
Chapter 7: AfterwordNotes; Index
Melodrama after the Soviet Union: Miel para OshúnIdeology and the Maternal Melodrama; Too Late for Revolution: The Temporality of Late Socialism; The Global Force of Melodrama; Conclusions: Melodrama as Ideological Refuge; Notes; Chapter 4: Localizing the Global: Transnational Filmmaking at EICTV; Introduction; The School of Three Worlds; Rural immersion and Experiential Filmmaking in the Sierra Maestra; Indexing the Post-Soviet in Rural Cuba; Sigue luchando-Subsistence and the Muted National; From Three Worlds to Every World: Expanding Cuba's Cinematic Gaze; Global Views of Late Socialism
Surveillance, Propaganda, InertiaTemporality and the Labor of Making Do; Conclusions; Notes; Chapter 5: Negotiated Endurance: Rural Film Production and Improvised Cinema at Televisión Serrana; Introduction; Audio-Visual Production in the Late Socialist Period: TVS; Interrogating the Local in TVS films; Talking Heads and Direct Address; Broken Cinema and Repair Tactics: Mobile Cinema in the 2000s; Delays, Repairs and Improvisation: mobile cinema after the Soviet collapse; Bodies, Materiality and "Re-making" Modernity; Como Por primera vez and the Residual New Man
Conclusions: Alternative Modernities and Negotiated EnduranceNotes; Chapter 6: One Must Invent: Tactical Aesthetics and Imperfect Design; Ernesto Oroza and Technological Disobedience; The Rhetoric of Industry and Invention within the Revolution; Improvised Communications: Radio and Internet Hacks; Micro Politics in the Home; Film Theory Beyond Film: On Imperfect Design; From Critical Spectators to Critical Designers; "Worker Build Your Machine": Exporting Technological Disobedience; Cuban Hacks as Film Study; Novelty and New (Old) Media Technologies; Cuba Calling; Conclusions; Notes
Chapter 7: AfterwordNotes; Index