New creative forms of engagement between artists and official institutions have
opened up in Cuba as a result of changing relationships between state and society in
the post-Soviet period. This article looks at critical debates about Cuban film as a
site where filmmakers, ordinary Cubans, and the state collaborate to reincorporate
alternative expressions into dominant ideological frameworks. But new modes of
incorporation are incomplete and partial, as critical films also give rise to ideas
that cannot be reduced to the agenda of the socialist state. The article is based on
textual analysis of film and detailed ethnographic material collected during nine
months of field research in Cuba.
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