TOWARDS A THIRD CINEMA: NOTES AND EXPERIENCES FOR THE DEVELOPMENT OF A CINEMA OF LIBERATION IN THE THIRD WORLD (Argentina, 1969)
"This profoundly influential manifesto, which coins the term Third Cinema, lays out Solanas and Getino’s strategy in making their groundbreaking La hora de los hornos (The Hour of the Furnaces, Argentina, 1968). They position Third Cinema in contra-distinction to Hollywood fi lm (First Cinema) and European “waves” and art cinema, including cinema novo (Second Cinema). They give priority to the documentary as a form of cinema that allows for social and political analysis and transformation, calling it the main basis of revolutionary fi lmmaking. They set out to transform not only what kinds of images appear on the screen but also the ways in which moving images are distributed and screened in Latin America, arguing for exhibition practices that lie outside the dominant, capitalist modes of spectatorship. As Jonathan Buchsbaum has demonstrated, Solanas and Getino did not mean for this manifesto to be static; as such they revised it over the years, adapting it to political changes and to what they discovered through their collective Cine Liberación and through screenings of Hour of the Furnaces throughout Latin America." (Film Manifestos and Global Cinema Cultures, a Critical Anthology, 2014, Scott MacKenzie)
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babygirl i know fandom history that doesn’t even exist
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she’s texting barbie on the way to work and they’re gonna keep texting the whole time she’s at work
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Donatella Baglivo interviews Andrei Tarkovsky in A Poet In the Cinema (1983).
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Finding Nemo 2 was out and it was a musical and, instead of being in the sea, they were all at an aquarium and singing and it was awful.
I was at the cinema watching it with my friends and I remember being really confused the entire time and then I noticed I lost my phone and I went under the seats to look for it.
When I couldn’t find it, I started panicking and then I woke up.
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