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Book Review: Hector Amaya, Screening Cuba: Film Criticism as Political Performance during the Cold War

Goodman is happy to pay a monthly contribution to support streaming and downloading and, rightly so, argues that fair payment must become part of the ‘cyberspace equation’. However, it could be argued that, given the current transitions in the industry, the impetus behind this equation should prioritize funding our artists and musicians, and the book falls short in raising this point. Such an allocation should be possible now that listeners are playing such an integral, if not primary, role in the promotion and distribution of music through online sharing, and artists are increasingly able to take charge of, or at least be much more involved in, the production process. There is likely still to be a need for industry intermediaries, but their role should be much more modest than it has been in the past. This would be a breath of fresh air, given the miscalculations characteristic of the music industry, as illustrated by Fortune’s Fool.