Third cinema

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Third cinema is a complex of cinema movements that emerged in the context of the independence movements of the so-called Third World .

Emergence

The first and now 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 created the most important theoretical basis of the third cinema with the 1969 manifesto Hacia un Tercer Cine ("For a third cinema"), led to the fact that especially the Argentinean and Chilean cinema of the early 1970s Years was perceived as paradigmatic for the third cinema. The third cinema, however, also included movements such as the Brazilian Cinema Novo , parts of Cuban cinema (such as Tomás Gutiérrez Alea ), the films that the Bolivian filmmaker Jorge Sanjinés made together with his group Ukamau and, above all, parts of francophone African cinema (so that Cinema by Ousmane Sembene , Med Hondo and Safi Faye ). Some film-historical approaches also include Asian film movements with similar content to the third cinema. Two film series developed by the Berlin curator collective The Canine Condition in 2009 and 2010 also included films from the Philippines and the People's Republic of China. Some new releases also see the Third Cinema as defined by an anti-colonial, often Marxist-inspired orientation rather than by a divided design language.

aesthetics

What these cinema movements had in common was that they challenged neo-colonialism and the capitalist system. On the one hand, Solanas and Getino chose the name to be analogous to the term of the Third World, on the other hand because they differentiated the cinema they conceived from the Hollywood model (1st cinema), which aims to earn money with cinema as an entertainment medium, as well as from the European one Author's cinema (2nd cinema).

reception

The third cinema was first seen in Western Europe with the screening of La Hora de los Hornos at the Pesaro Film Festival in 1968. The film was then widely received in Western Europe. The French film magazines Cahiers du cinéma and Cinethique devoted dossiers to the film and its directors. In Germany, the third cinema was made famous primarily through the establishment of the distribution of the Friends of the German Kinemathek (today Arsenal - Institute for Film and Video Art eV) . Even today, numerous films from the Third Cinema can be found in the Arsenal's collection , some of which are the only surviving copies in the world.

literature

Books

  • Ekotto, Frieda and Adeline Koh (Eds.): Rethinking Third Cinema. The Role of Anti-colonial Media and Aesthetics in Postmodernity, Münster, Lit 2009
  • Foerster, Lukas, Nikolaus Perneczky, Fabian Tietke, Cecilia Valenti (eds.): Traces of a Third Cinema. On the aesthetics, politics and economy of world cinema. Transcript, Bielefeld 2013
  • Pines, Jim and Paul Willimen (Eds.): Questions of Third Cinema Arizona: American Film Institute 1989
  • Solanas, Fernando and Octavio Getino: "For a Third Cinema" in: Cinema and Struggle in Latin America. On the theory and practice of political cinema , ed. by Peter B. Schumann, Munich: Carl Hanser Verlag 1976, pp. 9-19, excerpt from Hacia un Tercer Cine , reprinted in: Fernando E. Solanas, Octavio Getino. Cine, cultura y descolonización , Buenos Aires 1973
  • Wayne, Mike: Political Film: The Dialectics of Third Cinema , Fresno and Orange County, CA: Pluto Press 2001

Magazines

Individual evidence

  1. ↑ Revolutions off-screen . Website for the film series. Retrieved August 6, 2013.
  2. ↑ Traces of a Third Cinema - Biography . Website for the film series. Retrieved August 6, 2013.
  3. ↑ cf. Frieda Ekotto, Adeline Koh (Eds.): 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 (eds.): Traces of a Third Cinema. On the aesthetics, politics and economy of world cinema. Transcript, Bielefeld 2013, pp. 23-40.

See also