LEADER 03575nam 22006735 450 001 9910155635603321 005 20251030103751.0 010 $a9781137584311 010 $a1137584319 024 7 $a10.1057/978-1-137-58431-1 035 $a(CKB)4340000000027796 035 $a(DE-He213)978-1-137-58431-1 035 $a(MiAaPQ)EBC4765528 035 $a(Perlego)3494913 035 $a(EXLCZ)994340000000027796 100 $a20161207d2016 u| 0 101 0 $aeng 135 $aurnn|008mamaa 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aCuban Film Media, Late Socialism, and the Public Sphere $eImperfect Aesthetics /$fby Nicholas Balaisis 205 $a1st ed. 2016. 210 1$aNew York :$cPalgrave Macmillan US :$cImprint: Palgrave Macmillan,$d2016. 215 $a1 online resource (XII, 201 p. 23 illus., 19 illus. in color.) 225 1 $aGlobal Cinema,$x2634-596X 300 $aIncludes index. 311 08$a9781137590367 311 08$a113759036X 330 $aThis book maps the aesthetic experience of late socialism through Cuban film and media practice. It shows how economic and material scarcity as well as political uncertainty is expressed aesthetically in films from the period following the collapse of the Soviet Union, a characteristic described as imperfect aesthetics. The films examined in the book draw attention to the unique temporal experience of late socialism, a period marked both by rapid change and frustrating stasis, nostalgia for Cuba?s past and anxiousness about its future. Aesthetic modes such as melodrama and irony, and stylistic elements such as direct address and the long take, communicate the temporal experience of late socialism in Cuba, where new global traffic and a globalizing economy co-exist with iconic socialist features of the Cuban revolution. Film aesthetics constitute an important public dimension within this context, serving as a site of political and cultural critique amidst political uncertainty. In examining large-scale international co-productions as well as regional film collectives and amateur media making, the book traces the aesthetic continuities between contemporary film practices and those of the immediate post-revolutionary period, showing how the Cuban revolution continues to be an important touchstone for contemporary Cuban filmmakers in the face of new and imminent change. . 410 0$aGlobal Cinema,$x2634-596X 606 $aMotion pictures, American 606 $aEthnology$zLatin America 606 $aCulture 606 $aAmerica$xPolitics and government 606 $aMotion pictures$xHistory 606 $aCommunication 606 $aLatin American Film and TV 606 $aLatin American Culture 606 $aAmerican Politics 606 $aFilm and TV History 606 $aMedia and Communication 615 0$aMotion pictures, American. 615 0$aEthnology 615 0$aCulture. 615 0$aAmerica$xPolitics and government. 615 0$aMotion pictures$xHistory. 615 0$aCommunication. 615 14$aLatin American Film and TV. 615 24$aLatin American Culture. 615 24$aAmerican Politics. 615 24$aFilm and TV History. 615 24$aMedia and Communication. 676 $a791.43098 700 $aBalaisis$b Nicholas$4aut$4http://id.loc.gov/vocabulary/relators/aut$01063247 906 $aBOOK 912 $a9910155635603321 996 $aCuban Film Media, Late Socialism, and the Public Sphere$92531173 997 $aUNINA