Third cinema – Wikipedia

Third cinema is a complex of cinema movements that were created in the context of the independence movements of the so -called third world.

The first and best -known film of the third cinema is the two -part essay film La Hora de los Hornos – the hour of the blast furnaces By Pino Solanas and Octavio Getino. The importance of the film and its directors who were written in 1969 Towards a third cinema (“For a third cinema”) also created the most important theoretical basis of the third cinema, caused by the Argentine and Chilean cinema of the early 1970s to be perceived as paradigmatic for the third cinema. However, the third cinema also included movements such as the Brazilian Cinema Novo, parts of the Cuban cinema (such as Tomás Gutiérrez Alea), the films that the Bolivian filmmaker Jorge Sanjinés together with his group Javish realized and parts of the Francophone African cinemas (such as the cinema by Ousmane Sembene, Med Hondo and Safi Faye).
Some film -historical approaches are also part of the third cinema in terms of content similar to that of Asia. So two film series included the Berlin Curator Collective The Canine Condition In 2009 and 2010, films from the Philippines and the People’s Republic of China developed. ^{[first] [2]} Some new releases also see the third cinema defined by an anti -colonial, often Marxist -inspired orientation than by a shared formal language. ^[3]

Together there were these cinema movements that they challenged neocolonialism and the capitalist system. Solanas and Getino chose the term on the one hand analogously to the concept of the Third World, on the other hand because they designed the cinema against the Hollywood model (1st cinema), which aims to earn money with cinema as an entertainment medium, as well as against the European Author cinema (2nd cinema).

The third cinema was visible for the first time in Western Europe with the performance of The time of the ovens At the Film Festival in Pesaro in 1968. The film then found a broad reception in Western Europe. The French film magazines Cahiers du cinéma and Cinethics Dedicated to the film and his directors of Dossier. In Germany, the third cinema was made known primarily by the creation of the rental of the friends of the German Kinemathek (today Arsenal – Institute for Film and Video Stunst). Even today there are numerous films of the third cinema in the collection of the Arsenals , partly the only surviving copy worldwide. ^[4]

Books

• Ekotto, Frieda und Adeline Koh (Hrsg.): Rethinking Third Cinema. The Role of Anti-colonial Media and Aesthetics in Postmodernity, Münster, Lit 2009
• Foerster, Lukas, Nikolaus Perneczky, Fabian Tietke, Cecilia Valenti (ed.): Traces of a third cinema. On aesthetics, politics and economy of the World Cinema. Transcript, Bielefeld 2013
• Pines, Jim and Paul Willimen (HRSG.): Questions of Third Cinema Arizona: American Film Institute 1989
• Solanas, Fernando and Octavio Getino: “For a third cinema” in: Cinema and fight in Latin America. On the theory and practice of political cinema , hrg. by Peter B. Schumann, Munich: Carl Hanser Verlag 1976, pp. 9–19, extract from Towards a third cinema , reprinted in: Fernando E. Solanas, Octavio Getino. Cinema, culture and decolonization , Buenos Aires 1973
• Wayne, Mike: Political Film: The Dialectics of Third Cinema , Fresno and Orange County, CA: Pluto Press 2001

Magazines

1. ↑ Revolutions from off . Website for the film series. Accessed on August 6, 2013.
2. ↑ Traces of a third cinema – Biography . Website for the film series. Accessed on August 6, 2013.
3. ↑ vgl. Frieda Ekotto, Adeline Koh (Hrsg.): Rethinking Third Cinema. The Role of Anti-colonial Media and Aesthetics in Postmodernity, Münster, Lit 2009.
4. ↑ Fabian Tietke: The third cinema in the archive. In: Lukas Foerster, Nikolaus Perneczky, Fabian Tietke, Cecilia Valenti (ed.): Traces of a third cinema. On aesthetics, politics and economy of the World Cinema. Transcript, Bielefeld 2013, pp. 23–40.