This chapter examines the tension between fictional and documentary registers in three works of early Revolutionary cinema in Cuba. It explores the coincidence of this formal tension with concrete historical tensions borne of the transformations that shape early Revolutionary cultural production. Of particular concern, here, are those moments when this formal tension corresponds to the emergence of marginal subjectivities that often contradicted dominant Revolutionary discourse and that, likewise, disrupted and complicated efforts to represent it. These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.
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