The significance of technological change has been a central issue of Latin American film scholarship, evident in accounts of cinema’s earliest years (see Navitski, Chapter 2 and Cuarterolo, Chapter 19), as well as those dealing with the repercussions of television (see Cerdán and Fernández Labayen, Chapter 23) and, most recently, of digital technologies. Such interrogations often entail two interrelated questions: (i) What do technical innovations mean for audiovisual production and circulation within the region? (ii) What (if anything) distinguishes those transformations within Latin American from analogous shifts occurring elsewhere in the world?