Third Cinema

Shamash’s chapter studies Indigenous film productions in Brazil, particularly a documentary that portrays an all-women festival of the Kuikuro tribe, raising issues of cultural and environmental preservation. Shamash meditates on the utopian potential of the film medium as a performance of self-determination while tracing a genealogy of the decolonization of film history from Latin American Third Cinema to an international Indigenous Fourth Cinema. During this process, the author alludes to Kuikuro mythologies as they are represented through sound and image, along the notion of cannibalism as a subversive trope that empowers women as agents capable of leading the way in their communities.

La presente tesi di laurea si pone l’obiettivo di introdurre il lettore al Terzo Cinema, un tema le cui teorie e idee sono tuttora poco conosciute o approfondite in Italia, persino tra i giovani cinefili. Per questo motivo i due capitoli ripercorreranno le tappe fondamentali caratteristiche di questa corrente, facendo riferimento in primis ai due manifesti simbolo del movimento: “Towards a Third Cinema” (1968) e “For an Imperfect Cinema” (1969), il primo scritto da Octavio Getino e Fernando Solanas, il secondo da Julio García Espinosa.
Il primo capitolo è strutturato in due parti: la prima focalizzata sull’analisi delle idee e delle pratiche alla base del Terzo Cinema, la seconda sul confronto tra i due scritti evidenziandone i punti di contatto. Il capitolo si chiude infine con una riflessione di più ampio respiro, esaminando il montaggio filmico nella pratica rivoluzionaria e l’effetto choc capace di generare sullo spettatore. 
Il secondo capitolo contestualizza le stesse tematiche nello scenario contemporaneo, a partire dalla Conferenza di Edimburgo (1989), occasione in cui si riapre il dibattito sul Terzo Cinema, nel tentativo di definirne un’identità precisa e di capire quali sono i registi che possono essere considerati parte del movimento. La riflessione sull’estetica del Terzo Cinema odierno passa obbligatoriamente per la poor image, dapprima mero fattore costitutivo a causa di carenze materiali, successivamente elemento identificativo del movimento stesso. Il progresso tecnologico, unito ad una facilitata accessibilità dei materiali di produzione, crea un sistema più democratico e orizzontale, il quale permetterebbe, secondo la Steyerl, di attuare alcuni dei principi teorizzati da Espinosa, aumentando notevolmente le possibilità di espressione del popolo. In conclusione, si tratterà il caso del cinema brasiliano, nel quale è possibile riscontrare tutti i tratti che accomunano le varie correnti facenti parte del Terzo Cinema, in un percorso che parte dall’Estetica della fame teorizzata Rocha fino ad arrivare all’Estetica della spazzatura.

Motion picture technology developed at the dawn of the 20th century, just as the formal colonization of Africa was launched at the Berlin Conference of 1884–1885. While it took a few decades for cinema houses to spread in West Africa, by mid-century the colonial administrations began to use film as a means for conveying colonial culture to African subjects. For the British and French colonials, film was a means to shape public opinion. Both British and French colonial administrations criminalized indigenous filmmaking for fear of the subversive potential of anti-colonial messages—film communicated in one direction only. When West African nations became independent in the late 20th century, these restrictions vanished and Africans began to make films. This process played out differently in Francophone Africa than in Anglophone countries. France cultivated African filmmakers, sponsored training, and funded film projects. Talented and determined filmmakers in Anglophone Africa also struggled to produce celluloid films, but unlike their counterparts in former French colonies, they received little support from abroad. A significant number of excellent celluloid films were produced under this system, but largely in Francophone Africa. Though many of these filmmakers have gained global recognition, most remained virtually unknown in Africa outside the elite spaces of the FESPACO film festival and limited screenings at French embassies. Though West African filmmakers have produced an impressive body of high-quality work, few Africans beyond the intellectual elite know of Africa’s most famous films. This paradox of a continent with renowned filmmakers but no local film culture began to change in the 1990s when aspiring artists in Nigeria and Ghana began to make inexpensive movies using video technology. Early works were edited on VCRs, but as digital video technology advanced, this process of informal video production quickly spread to other regions. The West African video movie industry has grown to become one of the most prominent, diverse, and dynamic expressions of a pan-African popular culture in Africa and throughout the global diaspora.

En los años 1980, los cineastas colombianos Carlos Mayolo y Luis Ospina, emblemáticos del grupo de “Caliwood”, realizan películas de género bajo la bandera del “gótico tropical”, una estética fantástica que les permite criticar las relaciones de dominación coloniales y postcoloniales del Cono Sur. Antítesis de las fantasmagorías urbanas del capitalismo importado de Estados Unidos, estas fantasmagorías negras retoman el potencial
subversivo de la novela negra inglesa tal y como fue reconocida por los surrealistas. Este texto explora su origen como un especie de reto lanzado en 1970 por Luis Buñuel a Álvaro Mutis, así como parte de la estética vampírica que ronda, en esos años, las historias del cinéfilo Andrés Caicedo.

Palabras clave: cine, literatura, Colombia, surrealismo, novela negra.

In the 1980s, Colombian filmmakers Carlos Mayolo and Luis Ospina, emblematic members of the “Caliwood” group, created genre films under the banner of “Tropical Gothic,” a fantastic aesthetic that allowed them to criticize the relationships of colonial and postcolonial domination in the Southern Cone. The antithesis of urban phantasmagorias of capitalism imported from the United States, these black phantasmagorias revive the subversive potential of the English Gothic novel as it was recognized by
the surrealists. This paper explores the origins of this aesthetic as a sort of challenge launched in 1970 by Luis Buñuel at Álvaro Mutis, as well as part of the vampire aesthetic that, in those years, permeated the stories of cinephile Andrés Caicedo.

Keywords: cinema, literature, Colombia, surrealism, roman noir.

Sunum Başlığı: "Üçüncü Sinema Hareketi'nde Öznellik Üretimi", Moderatör: Esra İlkay İşler

Üçüncü Sinema Hareketi, Latin Amerika’da, sosyalist ve anti-kolonyalist hareketlerin güçlendiği 1960’lı yılların sonlarında, bu hareketlerle bağlantılı olarak ortaya çıkmıştır. Latin Amerika’da faaliyet gösteren bu devrimci hareketlerin ortak amaçlarından biri, yeni bir devrimci öznenin üretilmesidir. Üçüncü Sinema Hareketi’nin, bu bağlamda, yeni öznellikler üretme amacını sinema aracılığıyla gerçekleştirme çabasının bir ürünü olduğunu iddia etmek mümkündür.
Üçüncü Sinema Hareketi’nin ve ilk filminin (The Hour of the Furnaces, 1968) yaratıcıları olan Fernando Solanas ve Octavio Getino’ya göre Üçüncü Sinema (Devrimci Sinema), hem yıkan hem de kuran bir sinemadır. Üçüncü Sinema, kapitalizmin kendisine dair yarattığı imgeyi yıkarken, yeni bir gerçekliğin ve yeni öznelliklerin de üretilmesini içermektedir.
“Actuality”, “virtuality”, “affect”, “movement-image” ve “time-image” gibi Deleuzcü kavramlar, Üçüncü Sinema Hareketi’nin eğilimlerinin, amaçlarının ve bu amaçların ne ölçüde gerçekleştirilebildiğinin anlaşılması için gerekli olan analitik araçları sağlamaktadır. The Battle of Chili (Patricio Guzman, 1975) ve The Hour of the Furnaces (Fernando Solanas and Octavio Getino, 1968) gibi Üçüncü Sinema Hareketi’ne dahil olan filmlerin Deleuzcü bir incelemesi, bu filmlerin yönetmenlerinin, imgelerle nasıl düşündüklerini ve filmlerinde yarattıkları “affect”leri açığa çıkaracaktır.
Üçüncü Sinema Hareketi’ne dahil olan yönetmenler, filmlerinde kullandıkları “movement-image”lerle dünyanın filli durumunu gözler önüne sererlerken, “time-image”lerle de izleyicilere, dünyanın ve kendilerinin virtual gerçekliklerini göstermeye çalışmışlardır. Bahsi geçen filmlerde yaratılan “affect”ler ise bir bütün olarak izleyicilere, actuality ile virtuality arasında yeni bir ilişki kurma biçimi önermekte ve bu şekilde izleyicilerde yeni öznelliklerin üretilmesini sağlamaktadır.
Bu bağlamda, bu çalışmanın iki ayrı ancak ilişkili amacı olduğu söylenebilir; (1) Üçüncü Sinema Hareketi’nin eğilimlerinin, bu harekete dahil olan yönetmenlerin imgelerle düşünme biçimlerinin, filmlerin “affect”lerinin açığa çıkarılması ve (2) bu “affect”lerin yeni öznellikler üretimi ile ilişkisinin kurulması.
Anahtar Kelimler: Üçüncü Sinema, Deleuze, Özne, Öznellik, Affect, Actuality, Virtuality, Movement-Imge, Time-Image.

In the last fifty years an extensive bibliography has discussed The Hour of the Furnaces (1968) and the inseparable proposal of Third Cinema (1969). In this chapter I will focus on a less explored aspect: the film’s journey in non-commercial, alternative or militant circuits linked to the student and workers movement in the first world throughout 1968 and the immediate following years. 
    The Hour of the Furnaces and the manifesto Towards a Third Cinema can be inscribed, as it is well known, within a wider period, the so-called long 60s. After the pioneer essay by Fredric Jameson (1984) on this period – that according to him could be tracked back to sometime in the second half of the 1950s and could be extended until 1972-1974 – many other authors used the same concept and proposed different periodizations. As far as I am aware, the ‘widest’ locates the origins of the long 60s at the beginning of the Algeria War (1954) or the Bandung Conference (1955) and its ending in the Sandinist Revolution (1979). Of course, it is a periodization that takes into account also the idea of the global 1960s inasmuch as the 1960s account for the expansion of a common sensibility at an international level that tries to cover a wide range of processes of rebellion, revolt, insurrection and revolution in a number of countries around the world. That temporal extension (long 60s.) and geographical (global 60s.) is quite apt to think about The Hour of the Furnaces in its national and international context. Although its world premiere took place amidst the revolts of 1968, at the same time, it is possible to find the conditions that made the film possible as far back as the middle of the 1950s. And this not only because its third worldism dialogues with Algeria and Bandung, but also because 1955 is the year of the civic-military coup against the government of General Juan Domingo Perón in Argentina and the beginning of the so-called “Peronist resistance” against successive governments. The whole of the second part of the film, sometimes disregarded by academic accounts, concerns itself precisely with Peronism and “the Resistance”. At the same time, we can extend its ‘sixties’ influence until the end of the 1970s. In this respect, we can take also as a significant fact the almost forgotten dossier organised in 1979 by Guy Hennebelle and the group CinémAction for the magazine Tiers Monde (1979) about the influence of the film and the manifesto in several countries around the world.
    As it is well known, in the 1980s, and even in later periods, the film and the document were revisited in new manifestos, events and proposals in different places. Although, from my perspective, the historical period of The Hour of the Furnaces (and of Third Cinema) had already concluded even in those years, its ideas (cinematic, political) could still dialogue without a doubt with oppositional and confrontational to power initiatives in many countries. In an important essay on the “changing geography” of Third Cinema, Michael Chanan (1997) reconstructed, among other questions, the history of the film and of Solanas and Getino’s manifesto; some misinterpretations and modifications of the original definitions of the three types of cinema; the connections of the film with parallel movements in different countries; and the “transnational function” of Third Cinema. The author also addressed the subsequent recuperation of the thesis put forward by the film and the manifesto and their dialogue with other perspectives more or less similar in the 1980s. In particular, he wrote of the pioneer recuperation by the scholar Teshome Gabriel in his works at the beginning of the decade. He also focused on the well-known Third Cinema Conference held in Edinburgh in 1986, organised by Jim Pines and Paul Willemen that focused on the relevance of the concept of Third Cinema for the oppositional practices in film and video in the 1980s in the metropolitan centres of First World countries.
    In what follows, I will return over some of the testimonies and ideas included in those two moments of the debate around Third Cinema. (the CinémAction dossier of 1979 and the meeting in Edinburgh of 1986 ) and I will survey other less well known sources and documents such as catalogues from parallel distributors, letters, testimonies or press notes from those days. From there, I aim to look at the place that The Hour of the Furnaces occupied in the circuit of political and militant cinema in the first world, the debates it sparked, the polemics in which it took part . Of course, it will probably be an incomplete journey but I do not think it is a question of summarising that history but of continuing to explore it. 
(...)

Published in the book A trail of fire for political cinema (Javier Campo and Humberto Pérez-Blanco, eds.), Intellect, 2018; pp.135-158.

Mi texto escrito para mi ciclo (13 proyecciones) "La Tricontinental. Cine, utopía e internacionalismo" para el Museo Reina Sofía (Madrid).
My text written for my film program (13 screenings) "Tricontinental. Cinema, Utopia and Internationalism for Museum Reina Sofía (Madrid).

Le théâtre et le cinéma pour le développement sont perçus par plusieurs spécialistescomme des moyens de sensibilisation et d'éducation des masses. Leur pratique a permis de mobiliser les populations des zones rurales du Cameroun face à certains défis (Lutte contre le changement climatique, éducation à la citoyenneté, déforestation, excision, corruption). Ils ont très souvent été employés comme relai d'information, de mobilisation et de sensibilisation des populations. La récurrence de l'usagedes ateliers de théâtre pour le développement pendant la fin des années quatre-vingt-dix a conduit les praticiens au développement du concept de ''cinéma d'intervention social'' au début des années deux mille. Mais seulement, à la différence du théâtre pour le développement, la méthodologie et le mode de mise en place du cinéma d'intervention restent encore flou et peu théorisés. Partant du principe selon lequel le cinéma d'intervention social puise ses sources dans la méthodologie du théâtre d'intervention, la problématique de cet article s'articule donc autour de la question suivante :comment partir des étapes du théâtre d'intervention à celles du cinéma d'intervention? Ce travaila donc pour objectif de préciser les origines de ce concept cinématographique au Cameroun et de déterminer les étapes caractéristiques de son processus méthodologique.

"Cinema Novo" (New Cinema) is a cinema movement that emerged in Brazil at the end of the 1950s and lasted till 1970s, based on social justice, class conflict and aesthetic innovations and influenced by the Italian New Realism and the French New Wave film movements. The directors of this movement opposed the classical narrative cinema, which they described as "cinema of imperialism" and aimed to make the poor Brazilian people be aware of the "exploitation". By placing their cameras in poor rural and slum areas, these filmmakers have put forward a formal innovation called the "Aesthetics of Hunger" against the aesthetic of industrial cinema. In this article, this new aesthetic approaches developed against to traditional cinema are scrutinized within the films of the most important representatives of Cinema Novo which are Glauber Rocha, Nelson Pereira dos Santos, Carlos Diegues and Ruy Guerra.

In: Joshua Malitsky (ed.), A companion to Documentary Film History,  Wiley Blackwell

Introduction
A history of the audiences of the film movement known as Third Cinema requires extensive research into the countries where it took place, given the diverse filmmakers who aimed to produce a cinema of “cultural decolonization” in Africa, Asia and Latin America (and even in the First World, until the Third-Worldist influence) in the 1960s and 1970s. This essay focuses on the screening experience of The Hour of the Furnaces (Fernando Solanas and Octavio Getino, Cine Liberación Group, 1968), one of the most important films of the movement. In other works, I have discussed how The Hour... circulated at political film festivals and among militant groups post-’68 in Europe and North America, showing the great number of countries where the movie was included in the catalogues of alternative film groups. On the pages that follow, in contrast, I will be focusing on the film’s outreach among militant audiences in Argentina from 1968-1972.
I consider this film and its spectators a singular case of militant film for three principal reasons: first, because it introduces the theory of Third Cinema (1969). Secondly, unlike the international films produced under governments put into power by revolutionary processes during “the long 60s”—in Algeria post-independence, or in Cuba after 1959, to mention only  two  emblematic cases—The Hour... is a film made to oppose the military government in power in Argentina (1966-1973). Under an Argentine dictatorship, the screenings—a clear act of resistance to the regimes—were subject to varying levels of clandestinity (depending on specific circumstances), and it is only after Peronism’s return to power in 1973 that the film obtains a theatrical release. A third compelling aspect of this film is that, due to its length (more than four hours, divided into three parts), its sections were screened separately and combined in different ways depending on the audience. What is more, in some cases, certain sequences were cut or others selected especially for their political use in specific situations, in both Argentina and other countries.
In this context, the notes that follow reveal how the Cine Liberación Group conceived of the militant outreach of The Hour... between 1968 and 1972.  I will then examine the actual screening experience. In order to provide further insight into these practices, an internal group document by one of the “Mobile Film Units” responsible for screening the film is appended here. I believe this document is unique because of its detailed description of militant screening events (at homes, high schools, universities, neighborhood centers and union offices, or during factory conflicts); of film debates held in conjunction with the screenings, and of the different audiences of workers, students or the middle classes (professionals and intellectuals).It provides insight into the type of audiences that came to see The Hour... during the military regime in Argentina, and reveals certain aspects of the experience of  both those who screened the film as well as those who came to watch it.
The document provides a type of information on that experience that is absent (or only hinted at) in the texts that the Cine Liberación Group itself released. In fact, the group’s most widely disseminated and reprinted document, “Towards a Third Cinema,” though fundamental in its history, was published very early on, in October 1969. Due to the fact that it covers only the earliest period of the militant screenings, its overview of the workings of alternative screening venues and the spectators who dared to attend is limited to some degree. As I will show, later public documents released by Cine Liberación describe some of these aspects but do not cover the hands-on tasks associated with exhibitions as described by the groups that actually screened the film. This information was only detailed in testimonials or internal documents like the one reprinted in its entirety at the end of this essay.

This article examines the changing dynamics of censorship and social criticism in revolutionary Cuban cinema in order to make a case for studying allegory not as a mode whose meanings analysts should (or should not) reveal but, rather, as a contested social process. From the 1960s on, Cuban filmmakers turned to allegory as a means of resisting the reduction of art to propaganda and articulating more ambivalent takes on the Cuban Revolution. Yet spectators steeped in the political binaries of the Cold War often reduced films to arguments for or against socialism. Such paranoid readings have only grown more complex in the post-Soviet era, as changing strategies of state power, a growing orientation toward the global market, and the increasing availability of digital technologies enable more open criticism of the state in art and render criticism itself suspect. Drawing on this case study, this article argues that both depth models of interpretation and debates about “paranoid” or “symptomatic readings” fail to account for the social and political dynamics of texts. To understand how allegory and paranoid readings shape public debate and representation, we must examine how artists and audiences themselves mobilize the mode. This is especially true for Global South, state socialist, and authoritarian contexts, where traditions of political engagement through art, practices of skirting censorship through aesthetic indirection, and demands for depictions of the nation imposed by international art worlds foster practices of reading between the lines for hidden meanings in ways that sometimes cooperate with and sometimes work against artists’ aesthetic and political goals.

ACLARACION: Este texto es una revisión actualizada a 2016 del publicado originalmente en 2002, con un título ligeramente diverso. En 2016 se publicó en un número especial de la revista Secuencias, de homenaje al Profesor Alberto Elena, como se sabe, uno de los mayores historiadores de los cines del Tercer Mundo, del Sur o periféricos.
En su versión original, el texto intentaba aportar nuevos documentos que mostraban la continuidad del famoso Encuentro de Cineastas del Tercer Mundo de diciembre de 1973 celebrado en Argel en una segunda reunión realizada en Buenos Aires en mayo de 1974. Pero en los años que siguieron a su publicación original, fueron apareciendo otras fuentes sobre el mismo tema o afines, hasta que en 2012 di con los registros audiovisuales de una suerte de continuidad de ese vínculo, ahora ya no en el Sur, sino en Montreal (Canadá). De ahí, el cambio también en el título respecto de la versión original (aquí se agrega Montreal). Este último encuentro  del cine político mundial fue realizado en junio de 1974 y allí la tendencia tercermundista forjada entre Argel y Buenos Aires se expresó en toda su plenitud. Si bien publiqué estos materiales de Montreal en 2014 me pareció oportuno reeditar aquí el viejo artículo de la relación entre los dos primeros eventos (Argel-Buenos Aires) pero modificado en aspectos que fui corrigiendo en estos más de quince años y agregándole no sólo lo de Montreal, sino otros datos que fueron apareciendo recientemente en la bibliografía, como la presencia del argentino Raymundo Gleyzer en los vínculos con el cine argelino (que muestran las cartas publicadas hace poco por Juana Sapire y Cynthia Sabat) o la del chileno Sergio Trabucco en el encuentro de Buenos Aires (de su libro de 2014),, entre otras informaciones de otras fuentes que también incorporé.

Known as Parallel / Art / New wave Cinema, Realist Indian cinema emerged parallel to the mainstream films as early as the 1930s. With the advent of sound, came all singing and dancing dramas and religious epics, which grew popular with the masses, but a number of films catering to social problems and being naturalistic in their depiction also found fans despite being limited only to the classes of people who understood cinema.
The decade of art films believed in auteur theory and opened a new avenue for Indian cinema, using new techniques and cinematic language. While male directors have always ruled the film industry be it commercial or parallel films, women directors had to work it hard to be able to create for themselves a space to express. It was the decade of the eighties that saw directors like Sai Paranjpye, Aparna Sen, Kalpana Lajmi, and Mira Nair spread their wings and started off with art house cinema. It took a long time since then, for the women directors to be able to work and make a permanent and that too, notable space for themselves in both parallel and commercial cinema. Thus, the likes of Paranjpye and Sen can be termed as the women pioneers of parallel cinema and be called as a synonym of courage.
This paper aims to do a content analysis of four films which have been selected as each director’s first film from the 80’s decade. A study of these films will be done, grounded on a few parameters like the story, the depiction of female characters, their dialogues, etc.
Written as a link between the women directors and films, this study shall want to explore the auteur-ship/author-ship of women directors in portraying or showing women characters on screen and the treatment of narratives/storytelling way of women directors.

Keywords: Women Directors, Parallel Cinema, Contemporary

The work of Senegalese film-maker Ousmane Sembène is often analysed in terms of its highly ideological and social realist mode. This paper questions the relevance of a one-way 'film as message' model by demonstrating how Sembène's films thematize the limits of meaning. His work systematically emphasizes the dialogical construction of meaning, whether of important symbols like the mask in La Noire de …/ Black Girl, or of the films themselves as objects circulating in society. Self-reflexive strategies like posters and cameos by Sembène call the viewer's attention to the constructedness of the ideological message and the arbitrariness of the film as sign. Sembène's films are still a call to action, but they are also a call to thought about the factitiousness of narrative, and to dialogue about the work of interpretation.

Framework 62, No. 1, Spring 2021, pp. 5–21. Copyright © 2021 Wayne State University Press, Detroit, Michigan 48201-1309.
https://www.frameworknow.com/news/journal62-1

DOCUMENTING THIRD CINEMA (1968–1979): OVERLOOKED AND
LITTLE-KNOWN DOCUMENTS AROUND THIRD CINEMA
GUEST EDITORS: Jonathan Buchsbaum and Mariano Mestman

INTRODUCTION
Jonathan Buchsbaum and Mariano Mestman

ESSAYS
Fernando Solanas and Octavio Getino
“Cine militante: una categoría interna del Tercer Cine” (1971)
“Militant Cinema: An Internal Category of Third Cinema”

Group CinémAction
“L’impact du ‘troisième cinéma’ dans le monde” (1979)
“The Impact of ‘Third Cinema’ in the World”

Octavio Getino
“Algunas observaciones sobre el concepto del ‘Tercer Cine’”(1979)
“Some Observations on the Concept of ‘Third Cinema’”

PHOTO-ESSAY
Jonathan Buchsbaum and Mariano Mestman
Images of the Itinerary of the Group Cine Liberación and “Third Cinema”

This special issue is dedicated to the memory of Octavio Getino (1935–2012), Fernando Pino Solanas (1936–2020) and Guy Hennebelle (1941–2003), artisans of Third Cinema and militant cinema across the world.

Abstract:
The proposal of Third Cinema from the group Cine Liberación has had a broad impact on world political cinema since the end of the 1960s. The articles translated in this issue are three little-known but seminal documents that demonstrate how their thinking about radical filmmaking changed during the tumultuous years from the production of the film The hour of the furnaces (1968), beginning in 1966, through the years of clandestine distribution of the film and the escalation of the repression, to the violent coup d’état in 1976 installing the military dictatorship that forced Solanas, Getino, and so many others into exile. Anglophone readers have known the film and the manifesto “Towards a Third Cinema” (1969) since their completion through subtitled prints and translations of the manifesto. The documents translated in this Special Issue show that Solanas and Getino in fact were constantly revising their earlier ideas, especially in response to a rapidly changing political ferment in Argentina.
    First chronologically, the lengthy article by Getino and Solanas, “Cine militante: una categoría interna del Tercer Cine,” was completed in March 1971. This article shows the evolution of their thinking about political cinema that led them to this formulation of militant cinema, “the most advanced category” of Third Cinema. In 1979, Getino wrote the essay “Algunas observaciones sobre el concepto del ‘Tercer Cine,’” a meticulous retrospective analysis that explains the dialectic between the writings published by the group Cine Liberación and the process of clandestine distribution of the film in Argentina until the period following Perón’s return to Argentina in 1973. Also in 1979, a French collective devoted to political cinema, the newly founded French CinémAction group—created by Guy Hennebelle and Monique Martineau in 1978 in Paris— compiled a dossier of eleven responses to survey questions about the impact of the film and the manifesto in different countries during the decade since the explosive response to the first European screening of The Hour of the Furnaces at the Pesaro Film Festival (Italy) in 1968. That CinémAction dossier offers perhaps the most articulate and concentrated assessment of the significance of Third Cinema among committed film activists from all three continents.
    As we have written previously about these documents, we propose here a brief presentation highlighting several questions that remain pertinent to understanding better the history of Third Cinema. At the same time, in our Photo-Essay, the many images include more specific references to the history of the film and the manifesto since they first appeared in 1968/1969 to 1979.

The essay elaborates on the debate which took place between the Italian Marxist critic Guido Aristarco and the Cuban filmmaker and theorist Julio García Espinosa during the Rencontres internationales pour un nouveau cinema, an event which took place in Montréal in 1974. The essay provides cultural and historical background to the theoretical and political disagreements, which surfaced during this encounter, emphasizing the importance of the legacy of the debates on socialist realism in Italy, as well as the shifting attitudes of the European Left towards Cuba in the course of the 1960s and 1970s. In conclusion, the essay addresses the domestic and international reception of the film which sparked the controversy in Montréal—Girón (Bay of Pigs, Manuel Herrera, 1972).

A booklet (80 pages) in English and Serbian language, published by the MSU (Museum of Contemporary Art) in Belgrade. With a text about Image (film and photography) and 20 photos taken from the archives of reporters from Ex-Yugoslavia about Liberation's struggles in Algeria.

Senses of Cinema, Issue 99 (July 2021).

"And again in Bush Mama – outside the prison per se, but in the carceral circuits that surround it – Dorothy fights back. Gerima’s response to being stopped and searched while filming was to include the footage in his film. Someone was filming. Someone witnessed and documented. This is the beginning of community, of resisting the occupying army. For Gerima, following the theorisations of Fernando Solanas and other Third Cinema pioneers, the film camera was a weapon, a tool in the struggle. But unlike a gun, a film does not run out of ammunition. The camera witnesses and records, but also transforms reality. Cinema itself is, in essence, the projection of still images to create the illusion of movement. A frozen image can be made to move. The cell awaits smashing. Bush Mama’s final freeze frame awaits reactivation."

Bu çalışma, Arjantinli yönetmen Lucrecia Martel üzerine yapılan teorik tartışmalar ışığında, sözü edilen teorik literatüre ilişkin mevcut eleştirel perspektifleri geliştirmeyi amaçlamaktadır. Özellikle, üçüncü dünya sineması çerçevesinde anlaşılabilecek olan sinema tasviri ve çağrışımları üzerine odaklanmaktadır. Yönetmenin kendine ait kod kullanımları ile bir diyalog içine girerken, aynı zamanda Latin Amerika kültürel üretiminde ortak bir dili olan ‘Yeni Arjantin Sineması’ içindeki konumunu anlamaya yönelik olarak da okunabilir. Çalışma, hem yönetmenin sinema deneyimini çağrıştıran kodları açıklamayı hem de üçüncü dünya sineması içinde tanımlanan film anlayışları etrafında, kritik bir ‘kör noktayı’ düzeltmeyi hedeflemektedir.

Photo-Essay included in: Framework 62, No. 1, Spring 2021, pp. 107–133. Copyright © 2021 Wayne State University Press, Detroit, Michigan //
https://www.frameworknow.com/news/journal62-1

Special Issue:
DOCUMENTING THIRD CINEMA (1968–1979): OVERLOOKED AND
LITTLE-KNOWN DOCUMENTS AROUND THIRD CINEMA
GUEST EDITORS: Jonathan Buchsbaum and Mariano Mestman  //

INTRODUCTION
Jonathan Buchsbaum and Mariano Mestman  //

ESSAYS
Fernando Solanas and Octavio Getino
“Cine militante: una categoría interna del Tercer Cine” (1971)
“Militant Cinema: An Internal Category of Third Cinema” //

Group CinémAction
“L’impact du ‘troisième cinéma’ dans le monde” (1979)
“The Impact of ‘Third Cinema’ in the World” //

Octavio Getino
“Algunas observaciones sobre el concepto del ‘Tercer Cine’”(1979)
“Some Observations on the Concept of ‘Third Cinema’” //

PHOTO-ESSAY
Jonathan Buchsbaum and Mariano Mestman
Images of the Itinerary of the Group Cine Liberación and “Third Cinema” //

This special issue is dedicated to the memory of Octavio Getino (1935–2012), Fernando Pino Solanas (1936–2020) and Guy Hennebelle (1941–2003), artisans of Third Cinema and militant cinema across the world. -----------------------------------

Abstract:
The proposal of Third Cinema from the group Cine Liberación has had a broad impact on world political cinema since the end of the 1960s. The articles translated in this issue are three little-known but seminal documents that demonstrate how their thinking about radical filmmaking changed during the tumultuous years from the production of the film The hour of the furnaces (1968), beginning in 1966, through the years of clandestine distribution of the film and the escalation of the repression, to the violent coup d’état in 1976 installing the military dictatorship that forced Solanas, Getino, and so many others into exile. Anglophone readers have known the film and the manifesto “Towards a Third Cinema” (1969) since their completion through subtitled prints and translations of the manifesto. The documents translated in this Special Issue show that Solanas and Getino in fact were constantly revising their earlier ideas, especially in response to a rapidly changing political ferment in Argentina.
    First chronologically, the lengthy article by Getino and Solanas, “Cine militante: una categoría interna del Tercer Cine,” was completed in March 1971. This article shows the evolution of their thinking about political cinema that led them to this formulation of militant cinema, “the most advanced category” of Third Cinema. In 1979, Getino wrote the essay “Algunas observaciones sobre el concepto del ‘Tercer Cine,’” a meticulous retrospective analysis that explains the dialectic between the writings published by the group Cine Liberación and the process of clandestine distribution of the film in Argentina until the period following Perón’s return to Argentina in 1973. Also in 1979, a French collective devoted to political cinema, the newly founded French CinémAction group—created by Guy Hennebelle and Monique Martineau in 1978 in Paris— compiled a dossier of eleven responses to survey questions about the impact of the film and the manifesto in different countries during the decade since the explosive response to the first European screening of The Hour of the Furnaces at the Pesaro Film Festival (Italy) in 1968. That CinémAction dossier offers perhaps the most articulate and concentrated assessment of the significance of Third Cinema among committed film activists from all three continents.
    As we have written previously about these documents, we propose here a brief presentation highlighting several questions that remain pertinent to understanding better the history of Third Cinema. At the same time, in our Photo-Essay, the many images include more specific references to the history of the film and the manifesto since they first appeared in 1968/1969 to 1979.

Abstract

The Third Cinema Movement came to light in the late 1960s. In this period, socialist movements all around Europe and Latin America were gaining power.  The oppositional forces were struggling against capitalism in every field possible and cinema was among these fields. As a part of the struggle, the activists were trying to find new forms in cinema to affect people and to make them act against capitalism.  In this context, the Third Cinema Movement presents itself as a part of this struggle. The initiators of this movement (Fernando Ezequiel Solanas and Octavio Gettino) tried to posit cinema as a tool that would function in the ideological field. In this paper, I would like to point out the potentiality of the Third Cinema Movement by interpreting it. I would like to demonstrate that there is still a lot to learn from this movement about producing new subjectivities with cinema, in our current situation which is the Post-Fordist era. In this context this paper firstly aims to define the Post-Fordist era and demonstrate how production of subjectivities consist a crucial part of this period of capitalism. Secondly, on the basis of the studies of Maurizio Lazzarato and Gilles Deleuze this article aims to examine the how cinema can produce new subjectivities with the “affects” of the movies. Finally, in this paper, by analyzing some sequences of Third Cinema movies and the manifest of the movement, the relation between the Third Cinema Movement and the production of new subjectivities would be revealed.
Keywords: Movement-Image, Time-Image, Third Cinema Movement, Subjectivity, Post-Fordist Era
Özet
Üçüncü Sinema Hareketi, tüm Avrupa’da ve Latin Amerika’da sosyalist hareketler güç kazandığı 1960’ların sonunda ortaya çıktı. Muhalefet güçleri kapitalizme karşı mümkün olan her alanda mücadele ediyordu, sinema da bu alanlardan biriydi. Aktivistler, bu mücadelenin bir parçası olarak sinemada insanları etkileyecek, onları kapitalizme karşı mücadeleye çağıran yeni biçim arayışları içerisindeydiler. Üçüncü Sinema Hareketi’ni ortaya çıkaranlar (Fernando Ezequiel Solanas and Octavio Gettino) sinemayı ideolojik zeminde işlev gösterecek bir araç haline getirmeye çalışıyorlardı. Bu makalede, Üçüncü Sinema Hareketi’nin potansiyellerini onu yorumlayarak ortaya çıkarmayı hedefliyorum. İçerisinde yaşadığımız dönemde yani Post-Fordizm döneminde, Üçüncü Sinema Hareketi’nden sinema aracılığıyla yeni öznellik üretimlerine dair öğrenilecek çok şey olduğunu göstermeyi amaçlıyorum. Bu bağlamda; makalede öncelikle, Post-Fordizm döneminin tasvir edilmesi ve kapitalizmin bu döneminde öznellik üretiminin ne kadar önemli bir yer kapladığının gösterilmesi hedefleniyor. Makalede, ikinci olarak, Maurizio Lazzarato ve Gilles Deleuze’nin çalışmaları temelinde sinemanın, filmlerdeki “duygulanımlar” aracılığıyla nasıl öznellik üretimi gerçekleştirdiğinin irdelenmesi hedefleniyor. Son olarak, makalede, Üçüncü Sinema Hareketi’ne dahil olan filmlerden bazı sahneler ve hareketin manifestosu analiz edilerek Üçüncü Sinema Hareketi ile yeni öznellik üretimleri arasındaki ilişki gösterilecektir.

Anahtar Kelimeler: Hareket-İmge, Zaman-İmge, Üçüncü Sinema Hareketi, Öznellik, Post-Fordizm Dönemi

Trop souvent mal décrites comme étant des oeuvres de réalisme social, les films d'Ousmane Sembène accordent une attention particulière à l'impact politique des choix esthétiques. Dans Ceddo (1976), Sembène a très largement recours à des plans zoomés et des travellings en profondeur afin de permettre à ses téléspectateurs d'être en phase avec la relation résolument dialectique qui existe entre une scène donnée et chacun de ses éléments ; de manière plus générale, entre ces éléments et le vaste contexte sociohistorique qu'ils cherchent à représen-ter. Un aperçu des controverses qui animent l'héritage du Troisième cinéma peut permettre de mettre en lumière les éléments esthétiques délaissés de la tradition et situer le style de caméra de Sembène en lien avec ladite tradition. Un retour à un film comme Ceddo fournit non seulement une perspective critique à partir de laquelle les développements récents dans le cinéma mondial et les études des médias postcoloniaux peuvent être évalués. Bien plus, il peut également permettre de réaffirmer de façon authentiquement émancipatoire le fossé qui sépare les repré-sentations cinématographiques du réel imprévisible des changements historiques. 1. A CINEMATIC MAP Ousmane Sembene's Ceddo (1976) 1 dramatizes the conflicting historical forces that animate a village in the coastal Senegambian region at a time, so the film cues us to surmise, a century or two before the full onslaught of European colonialism in west Africa during the nineteenth century. In its final seconds, there is an arresting medium shot of the dignified and beautiful Dior Yacine, princess of a Wolof tribal group in the midst of a divisive process of Islamization, walking with slow determination towards the camera. With a rifle brought to the region by a European tradesman, she has just shot and killed the diminutive but upstart imam who, over the course of the film, has gradually wrested control of the village from her father the king and his entourage of once-def-erential noblemen. Alongside the viewer, she has probably surmised that the imam sponsored the subversive plot of a regicidal retinue comprised of these noblemen to bring about her father's death by snakebite, about which she has just been apprised.