13.1 Third Cinema movement and its political foundations
3 min read•july 30, 2024
emerged in 1960s Latin America as a response to political turmoil and social injustice. Rejecting Hollywood and European styles, it aimed to create revolutionary films that raised political consciousness and represented marginalized voices.
Influenced by Marxism and , Third Cinema developed new aesthetics and production methods. Its legacy continues in contemporary cinema's focus on social critique, experimental techniques, and representation of underrepresented communities.
Origins of Third Cinema
Historical Context and Political Climate
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- Third Cinema movement emerged in 1960s and 1970s as a response to political and social upheavals in Latin America (Cuban Revolution, anti-colonial struggles)
- Neocolonialism and economic dependency theories influenced Third Cinema development
- Concept of "Third World" provided framework for Third Cinema's ideological positioning
- Political repression and military dictatorships in Latin American countries fueled desire for revolutionary cinema
- Economic inequalities and social injustices in Latin American societies motivated filmmakers to create politically engaged works
Cinematic Influences and Technological Advancements
- European New Wave cinema inspired Latin American filmmakers to develop distinct cinematic language
- Development of lightweight, portable film equipment in 1960s enabled guerrilla-style filmmaking
- Italian Neorealism and British documentary tradition influenced Third Cinema's focus on social realism
- French Nouvelle Vague and British Free Cinema shared critique of mainstream cinema with Third Cinema
Principles of Third Cinema
Rejection of Dominant Cinema Forms
- Third Cinema rejected Hollywood's commercial cinema (First Cinema) and European art cinema (Second Cinema)
- Movement aimed to decolonize cinema by developing new aesthetic forms and narrative strategies
- Emphasized politically committed and culturally specific approach to filmmaking
- Promoted collective production methods and non-hierarchical filmmaking practices
- Advocated for democratization of film production and distribution
Political and Social Objectives
- Sought to raise political consciousness among viewers and inspire revolutionary action
- Concept of "camera as a rifle" emphasized use of film as weapon against imperialism and oppression
- Focused on representing marginalized voices and perspectives (indigenous peoples, working class)
- Employed alternative screening methods to reach wider audiences (community centers, union halls)
- Aimed to address regional social issues and develop distinctly Latin American film aesthetic
Third Cinema and Global Movements
Political and Ideological Connections
- Closely aligned with New Latin American Cinema movement
- Influenced by revolutionary political ideologies (Marxism, anti-imperialism)
- Collaborated with and drew inspiration from revolutionary political movements and guerrilla organizations
- Resonated with concurrent anti-colonial movements in Africa and Asia
- Contributed to development of postcolonial theory and cultural studies in academia
Artistic and Cultural Exchanges
- Shared affinities with radical film movements of the era (French Nouvelle Vague, British Free Cinema)
- Influenced by and contributed to Italian Neorealism and British documentary tradition
- Engaged in cross-cultural exchanges and collaborations with filmmakers from Africa and Asia
- Developed transnational co-production models challenging traditional national cinema paradigms
- Incorporated experimental aesthetics and narrative strategies from various global film movements
Impact of Third Cinema
Influence on Contemporary Cinema
- Political engagement and social critique continue to influence Latin American filmmakers
- Experimental aesthetics and narrative strategies incorporated into mainstream and art house cinema worldwide
- Focus on representing marginalized communities contributed to development of indigenous cinema
- Critique of neocolonialism and informs debates on globalization in cinema
- Legacy seen in emergence of transnational co-production models
Theoretical and Practical Legacies
- Theoretical writings of Third Cinema filmmakers (, Octavio Getino) remain influential in film studies
- Emphasis on alternative distribution methods influences contemporary guerrilla filmmaking and digital distribution
- Community-based screenings in Global South draw inspiration from Third Cinema practices
- Movement's focus on national liberation struggles continues to resonate in postcolonial cinema
- Third Cinema's expansion of film language shapes ongoing discussions on role of cinema in society
Key Terms to Review (19)
Anti-imperialism: Anti-imperialism is a political stance that opposes imperialist policies, advocating for the rights of nations and peoples to self-determination and sovereignty. This concept emerged as a response to the exploitation and dominance of colonial powers, emphasizing the need for marginalized voices to be heard and valued. It is often tied to movements that seek to dismantle structures of power that perpetuate inequality and oppression.
Auteur theory: Auteur theory is a film criticism concept that posits the director as the primary creative force behind a film, emphasizing their personal style and thematic concerns. This approach elevates the director to a level of artistic authority similar to that of authors in literature, allowing for deeper analysis of their unique vision and contribution to cinema.
Berlin International Film Festival: The Berlin International Film Festival, also known as Berlinale, is one of the world's most prestigious film festivals, held annually in Berlin, Germany. It serves as a key platform for international filmmakers to showcase their works, influencing global cinema trends and promoting cultural exchange through film.
Cannes Film Festival: The Cannes Film Festival is one of the most prestigious and celebrated film festivals in the world, held annually in Cannes, France. It serves as a key platform for showcasing international cinema, promoting artistic expression, and connecting filmmakers and audiences from around the globe.
Cold War: The Cold War was a prolonged period of geopolitical tension between the Soviet Union and the United States, along with their respective allies, from the end of World War II in 1945 until the early 1990s. It shaped global politics, society, and culture, influencing various aspects of cinema, including the portrayal of ideological conflicts, censorship, and state-sponsored narratives.
Cultural Imperialism: Cultural imperialism refers to the process by which a dominant culture imposes its values, beliefs, and practices on other cultures, often leading to the erosion of local customs and identities. This phenomenon is especially prevalent in global media and film, where Western narratives and aesthetics can overshadow or replace local stories and traditions. The influence of cultural imperialism can lead to the marginalization of local voices and create challenges for filmmakers seeking to express their unique perspectives.
Decolonial Aesthetics: Decolonial aesthetics refers to an artistic and cultural framework that seeks to challenge and dismantle colonial narratives and representations in art, cinema, and other forms of expression. It emphasizes the importance of indigenous voices and perspectives, reclaiming cultural identity while critiquing the dominant Western aesthetic standards that have historically marginalized non-Western cultures. This approach aims to create space for alternative narratives that reflect the complexities of post-colonial realities.
Documentary realism: Documentary realism is a cinematic style that seeks to represent subjects as authentically as possible, often using techniques that emphasize truth and veracity in storytelling. This style focuses on real-life events, social issues, and the human experience, portraying them without dramatization or fictional embellishment. It connects deeply with filmmakers who prioritize the documentary form, the socio-political contexts of certain regions, and movements that aim to convey political messages through film.
Fernando Solanas: Fernando Solanas is an Argentine filmmaker, screenwriter, and political activist known for his influential works in the Third Cinema movement. He sought to create a cinema that was politically engaged and aimed to address social issues in Latin America, challenging the mainstream narrative and advocating for cultural identity and social justice. His films often reflect a critique of imperialism and capitalism, aligning closely with the political foundations of Third Cinema.
Latin American Dictatorships: Latin American dictatorships refer to authoritarian regimes that ruled various countries in Latin America, especially during the mid-20th century. These regimes were characterized by military control, suppression of political dissent, and the use of propaganda, often emerging in response to social and economic instability. This political landscape significantly influenced the film industry, contributing to the Third Cinema movement which sought to challenge dominant narratives and address social injustices.
Marxist Film Theory: Marxist film theory is an analytical approach that examines films through the lens of Marxist principles, focusing on issues of class struggle, economic power dynamics, and ideological representation. This theory posits that films can reflect and shape social realities, particularly in how they portray the relationships between different social classes and the influence of capitalism on culture. It connects to broader themes of social justice and the critique of dominant ideologies, making it relevant in discussions around class and gender representation in cinema.
Memories of underdevelopment: Memories of underdevelopment refers to the lingering effects of colonialism and socio-economic inequality in developing countries, where past traumas and historical contexts shape present realities. This concept highlights how historical experiences of oppression and exploitation contribute to contemporary identity crises, cultural conflicts, and struggles for autonomy, particularly in the context of Third Cinema.
Political Allegory: Political allegory refers to a narrative technique where characters, events, and symbols are used to represent political ideas or ideologies. It serves as a powerful tool for filmmakers and writers to critique or comment on political situations, often enabling audiences to engage with complex social issues through storytelling. By using allegorical elements, creators can mask direct criticism while still conveying meaningful insights about power, oppression, or resistance.
Post-colonialism: Post-colonialism is an academic and cultural framework that analyzes the lasting impacts of colonialism on former colonies, focusing on issues of identity, power dynamics, and cultural representation. It highlights how the legacies of colonial rule continue to influence societies, politics, and cultural expressions in the global South, often challenging Western narratives and promoting local voices. This perspective is crucial for understanding the complexities in international cinema, where filmmakers grapple with themes of identity, resistance, and the aftermath of colonial histories.
Tânia Cypriano: Tânia Cypriano is a prominent Brazilian filmmaker and activist known for her contributions to the Third Cinema movement, which emphasizes social justice and political engagement in film. Her work reflects the principles of Third Cinema by challenging dominant narratives, promoting cultural identity, and addressing issues faced by marginalized communities in Brazil.
The Battle of Algiers: The Battle of Algiers is a 1966 film directed by Pier Paolo Pasolini, depicting the Algerian War of Independence against French colonial rule in the 1950s. The film is significant for its raw portrayal of urban guerrilla warfare and the brutal tactics employed by both sides, making it a key work in the Third Cinema movement that sought to address political issues through cinema. Its influence extends to various filmmakers and highlights regional differences in storytelling about colonial struggles.
The Hour of the Furnaces: The Hour of the Furnaces is a groundbreaking 1968 Argentine documentary film directed by Fernando Solanas and Octavio Getino, which serves as a critical examination of the political and social injustices faced by Latin America. This film is often regarded as a cornerstone of the Third Cinema movement, emphasizing the need for revolutionary cinema that challenges imperialist narratives and promotes social change. By using a mix of documentary footage, historical references, and passionate rhetoric, it seeks to awaken a sense of consciousness and political engagement among viewers.
Third Cinema: Third Cinema refers to a film movement that emerged in the late 1960s and 1970s, primarily in Latin America and other postcolonial regions, aiming to critique imperialism and represent the voices of marginalized communities. This movement sought to create a new form of cinema that was distinct from Hollywood's commercial cinema and the art cinema of Europe, emphasizing social justice, political consciousness, and cultural identity.
Towards a Third Cinema: Towards a Third Cinema refers to a movement in film that emerged in the late 1960s and 1970s, advocating for a new kind of cinema that rejects both Hollywood commercialism and European art cinema. This movement aims to represent the voices of marginalized communities, particularly in postcolonial countries, using film as a tool for political and social change. It emphasizes the need for filmmakers to create works that challenge dominant narratives and reflect the realities of their cultures and societies.