of the ICAIC and the President of the Section of Cinema of the Cultural Society. The main objectives of Cuban cinema were production, distribution, and screening films that recorded the ongoing revolutionary process from the perspectives of ordinary people. According to Davies, the films that were shot on location and featured local people were shown free of charge across the country in city cinemas and on makeshift village screens to spectators who were encouraged to participate actively in the films' reception and interpretation. In 1968–88, the most common and desired form of film used in Cuba was Imperfect Cinema. It can be acknowledged that Imperfect Cinema was creative, innovative and possessed a distinctive style that is typically a very thought provoking original work of art, Oscar Quirós concluded. Imperfect films captured the viewer's attention because the relevance of the story line matched what the audiences were experiencing in their own lives. Imperfect Cinema is a form or theme found through audiences that have struggled in life and are aware of the hard times the people were going through. Only in the person who suffers people perceive elegance, gravity, even beauty; only in him people recognize the possibility of authenticity, seriousness, and sincerity. Not only does imperfect cinema represent the struggles of the people it also reveals the process which has generated the problem. The subjective element is the selection of the problem, conditioned as it is by the interest of the audience-which is the subject. The objective element is showing the process-which is the object. Imperfect Cinema uses the audience as the subject to show the process of the problem as the object. Aside from indicating the demonstrative, communicative and inquisitive qualities, these characteristics also convey an implicit utilitarian quality. In other words, Imperfect Cinema possesses utilitarian features because it must perform a particular political function within society. Cubans felt included by the films which gave them a sense of importance and pride. Cuban and Latin American films were successful in the international market even though they did not always fit the hegemonic models or use mainstream film languages. Imperfect Cinema is a great example of film that is accepted internationally even though it does not fit into the Hollywood genre or codes of representation. Style for Imperfect Cinema is thus defined by the specific techniques and qualities contextualized in orthodox Marxism's aesthetics of content over form, such as the