Historically, cinema in the Americas has been signed by a state of
precariousness. Notwithstanding the growing accessibility to video and
digital technologies, access to the material means of film production is
still limited, affecting the spheres of production, distribution, and
reception. Equally, questions about the precarious can be traced in
cultural and archival policies, film legislations, as well as in
thematic and aesthetic choices. While conventional definitions of the
precarious have been associated with notions of scarcity and insecurity,
this volume looks at precariousness from a non-monolithic angle,
exploring its productivity and potential for original, critical
approaches, with the aim of providing new readings to the variedly rich
and complex cinemas of the Americas.