pleasing rather than meaningful. They maintain that imperfect cinema must above all show the process which generates the problems. It is thus the opposite of a cinema principally dedicated to celebrating results, the opposite of a self-sufficient and contemplative cinema, the opposite of a cinema which "beautifully illustrates" ideas or concepts which we already possess. However, the aesthetic changes that were better perceived after the mid-1970s were a reflexion of the social underlying changes in the ideological Marxist fabric away from Orthodox Marxism and more in tune with the Marxian ideal of emancipation. The new Perfect Cinema is not a cinema to move away from the social, political, and economic issues of Cuban society, but it is a move forward to better illustrate the Cuban social whole. These aesthetic changes that characterize Perfect Cinema predate the collapse of the Soviet block and the end of the Cold War underlying the significance of this new Cuban style of cinema as both as manifestation of social changes and a leader of such a change. Modern authorship is established and valued mostly as a matter of output and public success. "Perfect" films are valued by critics, awards, and merchandise that are produced because of the film. Compared to "perfect" films, imperfect films focus on the art, sending a message, and creating substance. Most Latin American films can only achieve success in the international market if they emulate hegemonic models and borrow from mainstream film languages. The "perfect" films are difficult for Latin American and Cuban film makers to compete with because most viewers are interested in watching films that are visually attractive and don't require a lot of thought while watching. It stands to reason that today's changing circumstances of film production and consumption determine that genres cannot exist by mere repetition and recycling of past models but have to engage with difference and change. Art will not disappear into nothingness; it will disappear into everything. Post-Cold War era The post Cold War period is known as the "Special Period" in Cuba. During this time period the Cuban cinema industry suffered greatly (as did the Cuban citizens due to severe economic depression). This is best phrased by Elliott Young: The state expected artists, filmmakers, and intellectuals to become economically autonomous and not rely on state subsidies; this new market orientation forced cultural producers to seek foreign financing or simply to leave the country