Marvin D’Lugo is Research Professor at Clark University, USA. He has written extensively on Hispanic transnational cinema, focusing on "audio politics" in Latin American film. He is currently completing a book on the digital cinema revolution in Mexico.Ana M. López is Director of the Cuban and Caribbean Studies Institute at Tulane University, USA. Her research is focused on Latin American and Latino film and cultural studies. She is currently the editor of Studies in Spanish and Latin American Cinemas.Laura Podalsky has authored The Politics of Affect and Emotion in the Contemporary Latin American Cinema (2011) and Specular City: Transforming Culture, Consumption, and Space in Buenos Aires, 1955–1973 (2004). She teaches Latin American film and cultural studies at the Ohio State University, USA.

• Introduction: Troubling Histories Marvin D’Lugo, Ana M. López and Laura PodalskyI. HistoriographiesChapter 1: National cinemaJuan PobleteChapter 2: Silent and early sound cinema in Latin America: local, national, and transnational perspectivesRielle NavitskiChapter 3: National cinemas (re)ignited: film and the stateLisa Shaw, Luis Duno-Gottberg, Joanna Page, and Ignacio M. Sánchez PradoChapter 4: Unpacking periodizationLaura PodalskyChapter 5: Off-screen cultureMaite Conde, Laura Isabel Serna, and María Fernanda Arias OsorioChapter 6: Space, politics and the crisis of hegemony in Latin American filmGeoffrey KantarisChapter 7: Encounters with the centaur: forms of the film-essay in Latin AmericaMaría Luisa OrtegaChapter 8: Realism, documentary, and the process genre in early New Latin American Cinema Salomé Aguilera SkvirskyII. Interrogating critical paradigmsChapter 9: Cosmopolitan nationalisms: transnational aesthetic negotiations in early Latin American sound cinema Adrián Pérez MelgosaChapter 10: Genre films then and nowGerard DapenaChapter 11: New Latin American stardomDolores Tierney, Victoria Ruétalo, and Roberto Carlos OrtizChapter 12: Radical ruptures in the cinema of Latin America around "1968" Mariano MestmanChapter 13: Transnational genealogies of institutional film culture of Cuba, 1960s–70sMasha SalazkinaChapter 14: New frameworks: collaborative and indigenous media activismFreya Schiwy, Amalia Córdova David Wood, and Horacio LegrásChapter 15: Productions of space/places of construction: landscape and architecture in contemporary Latin American filmJens AndermannChapter 16: Enduring art cinemaNilo CouretIII. Business practicesChapter 17: Transnational networks of financing and distribution: international co-productions Luisela AlvarayChapter 18: The interlocking dynamics of domestic and international film festivals: the case of Latin American and Caribbean cinemaTamara L. FalicovIV. IntermedialitiesChapter 19: Film and photography: an archeologyAndrea CuarteroloChapter 20: Problematizing film and photographyAlejandro Kelly-Hopfenblatt and Silvana Flores Chapter 21: Film and radio intermedialities in early Latin American sound cinemaAna M. LópezChapter 22: Music in Latin American cinema: aural communities on- and off-screenMarvin D’LugoChapter 23: Film and televisionJosetxo Cerdán and Miguel Fernández LabayenChapter 24: Latin American film in the digital ageGonzalo Aguilar, Mariana Lacunza, and Niamh Thornton