Instituto Cubano del Arte e Industria Cinematográficos / ICAIC (layout: Holbein, cover designer: Reboiro (Antonio Fernández Reboiro), director: Alfredo Guevara), "Cine Cubano" issues 76/77, [1976-1977]. Offset print, magazine.

The cover of "Cine Cubano" issues 76/77 presents Reboiro's exuberant design featuring a detailed engraving of a vintage film camera set against vibrant diagonal stripes in rainbow colors - yellows, oranges, reds, blues, greens, and purples - creating a dynamic sense of movement and celebration. The classical engraving style of the camera contrasts beautifully with the contemporary psychedelic color scheme, suggesting both cinema's historical foundations and its revolutionary potential. Holbein's layout maintains clean typography while allowing the explosive color field to dominate, reflecting the magazine's continued commitment to sophisticated visual presentation during the mid-1970s period of increased international cultural exchange and Third World cinema solidarity.

This double issue demonstrates Cuban cinema criticism's mature engagement with Latin American film movements during a period of heightened regional cooperation and revolutionary cinema development. The lead feature "La experiencia boliviana" by renowned filmmaker Jorge Sanjinés provides comprehensive analysis of Bolivian cinema's development from its early stages through its emergence as a significant force in Third World filmmaking. Sanjinés, director of influential films like "Yawar Mallku" and "El coraje del pueblo," offers insider perspective on the challenges and achievements of creating revolutionary cinema in Bolivia, discussing both the technical and ideological dimensions of anti-imperialist cultural production.

Published by the Instituto Cubano del Arte e Industria Cinematográficos under Alfredo Guevara's continued leadership, this issue includes extensive coverage of Continental and Third World cinema movements, analysis of films by Miguel Torres, discussions of Colombian cinema with focus on directors like Julio García Espinosa, interviews with Oscar Collazos, and examination of Cuban films including "Viva la República." Contributors including José Wainer, Carlos Alvieri, Fernando Pérez, Manuel Octavio, and Alexandar Medvedkin provide diverse perspectives on revolutionary cinema's development across Latin America. The editorial offices at Calle 23 no. 1155, Habana, Cuba, maintained subscription accessibility (0.25 pesos per issue in Cuba, 2.75 annual in Cuba, 5.00 international) while facilitating crucial dialogue about anti-imperialist cinema during this pivotal period of Third World cultural solidarity and revolutionary film practice.