Decentering “New Cinemas” History: Transatlantic Exchanges in 1960s Cuba

This is part of a project that provides an alternative to the dominant (colonality-suffused) center-periphery model of long-1960s film history, according to which everything begins in France and filters out to the remainder of the globe. The project looks instead at the intensive networks of transatlantic exchange (Cuba, Brazil, Argentina, Mozambique, France, Spain) that form during these years, to trace out the development of radical film theories and practices.