use of 'type' characters, harsh imagery made by scratches, under/over exposure, high contrast, excessive movements of the camera, presentation of historical events and the wide use of hand-held cameras. This form of film was very popular among the revolutionary people because the films were portrayed in a manner that was very easy to relate to and shared a common feeling and interest among the people that were experiencing similar situations that were occurring in Cuba at the time. The revolution provided alternatives, supplied an entirely new response, enabled the country to do away with elitist concepts and practices in art, and was the highest expression of culture because it abolished artistic culture as a fragmentary human activity. Imperfect Cinema was responsible for making a reputation for Cuban film, but by the mid-1970s, Cuban filmmakers were purposely making a different style of cinema. Chanan, for example, concludes that by the late 1970s Imperfect Cinema had just about disappeared. He believes that since then Cuban cinema has given up the challenge of creating its own style in favor of imitating Hollywood. For Garcia Espinosa and many of his fellow Latin American filmmakers, Imperfect Cinema was the answer to the need of creating a form of art that demonstrates the process of the problems ... not a cinema to beautifully illustrate concepts and ideas they already know. The purpose of this revolutionary form of film was derived from the revolution itself. By 1989, Cuban cinema had the formal sophistication to carry any revolutionary message, or none at all, Quirós indicated. Imperfect cinema was no longer interested in quality or technique. It can be created equally well with a Mitchell or with an 8mm camera, in a studio or in a guerrilla camp in the middle of the jungle. Since all of these critical operations require new approaches to film directing, they cannot expect flawless results every time. Films built on the consecrated conventions of traditional cinematography are more likely to attain technical "perfection" than those necessarily "imperfect" attempts to challenge established conventions and search out new approaches. The opposite of imperfect cinema is "perfect" cinema which is basically described as films that are portrayed as perfect, flawless, and contain beautiful scenery. The majority of scenes that are shot in a "perfect" film are in a beautiful place, typically the film is not produced to make the viewer think, and they're usually more aesthetically