For an Imperfect Cinema (Cuba, 1969)
Abstract

Because of the Movimiento 26 de Julio leading to the eventual Cuban revolution of 1959, Cuba plays a pivotal role in the development of radical Latin American cinema. Like many of the other Latin American manifestos of the 1960s, Espinosa’s argues against the aesthetics of mainstream cinema in order to break down the relationship between filmmaker and spectator, leading to the democratization of the cinema. Harking back to the writings of Eisenstein, “For an Imperfect Cinema” foregrounds the dialectical relationship between the film and the viewer as a means to create a new, revolutionary consciousness. Espinosa argues for a politically committed “imperfect cinema” that foregrounds process over analysis, which he claims leads only to judgment and closure.