It is a world peopled with fantasies and phantoms in which what is hideous is clothed in beauty, while beauty is disguised as the hideous. “Towards a Third Cinema” by Fernando Solanas and Octavio Getino. (12) Once he has embarked upon this practice, the revolutionary filmmaker will have to overcome countless obstacles; he will experience the loneliness of those who aspire to the praise of the System's promotion media only to find that those media are closed to him. Financing, subsidising, equipping, and supporting revolutionary cinema are political responsibiities for revolutionary organisations and militants. For example, There are four manifestos accredited to beginning the genre of Third Cinema: The cinema known as documentary, with all the vastness that the concept has today, from educational films to the reconstruction of a fact or a historical event, is perhaps the main basis of revolutionary film-making. We’d love your help. The ideal goal to be achieved would be producing and distributing guerrilla films with funds obtained from expropriations from the bourgeoisie - that is, the bourgeoisie would be financing guerrilla cinema with a bit of the surplus value that it gets from the people. Third Cinema as Guardian of Popular Memory: Towards a Third Aesthetics In an interview given to the New Left Review, the Cuban novelist Alejo Carpentier relates an anecdote about a small fishing village in Venezuela where all the inhabitants are black.
(4) and exciting elements of controlled violence (7) - that is, But both of these already exist in Latin America. It serves to institutionalise and give a normal appearance to dependence. The capacity for synthesis and the penetration of the film image, the possibilities offered by the living document, and naked reality, and the power of enlightenment of audiovisual means make the film far more effective than any other tool of communication. A guerrilla cinema, at this stage still within the reach strove to conquer the fortress of official cinema ended, as Jean-Luc Godard eloquently put it, with the filmmakers themselves 'trapped inside the fortress.' 'Knowledge begins with practice. which gives an air of democratic broadmindedness to The myth of irreplaceable technicians must be exploded.
Like other Indy productions it often struggles to find a place for presentation to audiences. A new historical situation and a new man born in the process of the anti-imperialist struggle demanded a new, revolutionary attitude from the film-makers of the world. When all is said and done, such cinema was doomed to but to satisfy, in the first place, the cultural and surplus serve to mobilise, agitate, and politicise sectors of the In Argentina, 26 television channels; one million television sets; more than 50 radio stations; hundreds of newspapers, periodicals, and magazines; and thousands of records, films, etc., join their acculturating role of the colonialisation of taste and consciousness to the process of neocolonial education which begins in the university. Fantasy has been replaced by phantoms and man is turned into an extra who dies so Jacopetti can comfortably film his execution. Our truth, that of the new man who builds himself by getting rid of all the defects that still weigh him down, is They will be doomed to carry out the best work on the left that the right is able to accept today and will thus only serve the survival of the latter. It is hardly necessary to point out that those films which achieve an intelligent use of the possibilities of the image, adequate dosage of concepts, language and structure that flow naturally from each theme, and counterpoints of audiovisual narration achieve effective results in the politicisation and mobilisation of cadres and even in work with the masses, where this is possible. A cinema which in the consumer society does not attain the level of the reality in which it moves can play a stimulating role in an underdeveloped country, just as a revolutionary cinema in the neocolonial situation will not necessarily be revolutionary if it is mechanically taken to the metropolitan country. Furthermore, revolutionary cinema is not fundamentally one which illustrates, documents, or passively establishes a situation: rather, it attempts to intervene in the situation as an element providing thrust or rectification.
nonconformism, plain rebelliousness, and discontent are just
violence which absorption by the System turns into pure Our societies have been too lacerated and fractured by colonial powers to fit into those neat scenarios.”This is an incomplete list and still does not reflect the number of film-makers that have contributed to Third Cinema. Towards a Third Cinema என ற தல ப ப ல ச ல லத த ன அம ர க க இயக க னர கள பற ற ந ன எழ த ய ந ல ந ள வ ள வர உள ளத . liberation process make it impossible to lay down supposedly universal norms. The differences that exist between one and another de los hornos (The Hour of the Furnaces), the growing demand for films such as those made by Santiago Alvarez and the Cuban documentary film movement, and the debates and meetings that take place after the underground or semipublic showings of third cinema films are the beginning of a twisting and difficult road being travelled in the consumer societies by the mass organisations (Cinegiornali liberi in Italy, Zengakuren documentaries in Japan, etc.). Newspapers and other printed matter, posters and wall propaganda, speeches and other verbal forms of information, enlightenment, and politicisation are still the main means of communication between the organisations and the vanguard layers of the masses. However, this debate oscillates between two poles: one which proposes to relegate all intellectual work capacity to a specifically political or political-military function, denying perspectives to all artistic activity with the idea that such activity must ineluctably be absorbed by the System, and the other which maintains an inner duality of the intellectual: on the one hand, the 'work of art', Every important film produced by a revolutionary cinema will be, explicitly, or not, a national event of the masses. In order to be effective, all these fields must recognise the priorities of each stage; those required by the struggle for power or those demanded by the already victorious revolution.
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