Political Film: The Dialectics of Third CinemaThird Cinema is a cinema committed to social and cultural emancipation. In this book, Mike Wayne argues that Third Cinema is absolutely central to key debates concerning contemporary film practices and cultures. As a body of films, Third Cinema expands our horizons of the medium and its possibilities. Wayne develops Third Cinema theory by exploring its dialectical relations with First Cinema (dominant,commercial) and Second Cinema (arthouse,auteur). Discussing an eclectic range of films, from Evita to Dollar Mambo, The Big Lebowski to The Journey, Amistad to Camp de Thiaroye, Political Film explores the affinities and crucial political differences between First and Third Cinema. Third Cinema’s relationship with Second Cinema is explored via the cinematic figure of the bandit (Bandit Queen, The General, Eskiya). The continuities and differences with European precursors such as Eisenstein, Vertov, Lukacs, Brecht and Walter Benjamin are also assessed. The book is a polemical call for a film criticism that is politically engaged with the life of the masses. |
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aesthetic Alea Alea's Algerian allegory American Amistad Argentina argued Articulations audience Bandit Queen Baran Battle of Algiers Battle of Chile Benjamin Berfo Bhabha Bicycle Thieves Birri Boorman bourgeois bourgeoisie Brecht Cahill Cahill's camera capital celluloid bandit character colonial commitment context critical critique Cuban Cuban revolution cultural imperialism Cumali develop dialectical dockers documentary dominant élites Emerald Forest engagement Evita example explore Fanon film's filmmakers forces French Furnaces gangster gender genre guerrilla Herod's Law historical individual Juan Carlos Tabio Keje labour Latin America liberation Lukács Lukács's Marx masses mode of production modernism modernist musical organisations Phoolan Phoolan Devi police politicised Pontecorvo's popular memory position practice prison problem question radical realism reality relations relationship represent revolution revolutionary Sanjinés scene Second Cinema slaves social society Solanas and Getino spectacle spectator Sri Lam story strategies structure struggle theory Third Cinema Third Cinema films tradition transformation Willemen