Jour

nal
i
sm Assi
gnment
:
Shubhangi
Ojha
17511182

(
B.A.Engl
i
shHonour
s)
THI
RDCI
NEMA:
ThirdCi nemai saLat i
nAmer i
canf il
m
mov ementt hatstar
tedinthe
1960s–70swhi chdecri
es
neocoloni al
ism, t
hecapitali
stsyst em,
andt heHol lywoodmodel ofcinemaas
mer eent ert
ainmentt omakemoney .It
's
theoryev olvedinthe1960sand1970s
asar esponset othesocial,poli
tical
, and
economi creali
ti
esinLatinAmer ican
count r
ieswhi chwereexper ienci
ng
oppressi onfrom percei
vedNeo- colonial
poli
cies.Asar esul tofwhi ch' Third
Cinema' i
simpor tanti nt hehi st oryof
fi
lmmaki ngandhast hepowert obr i
ng
changei nthesoci et y.Thi rdCi nema
fi
lmssoughtt oi nspi rer ev olution
againstclass,racial andgender
i
nequal i
ti
es.Spect at or swer ecal l
edupon
torefl
ectonsoci al injust icesandt he
processbywhi cht hei rr eal i
tiesoccur red,
andt otakeact iont ot ransf ormt heir
conditi
ons.Ev ent houghThi rdCi nema
fi
lmsar osedur ingr ev olutionar yer asin
Lati
nAmer icaandot hercount ri
es, t
his
fi
lmmaki ngi sstilli
nf luent ial today .
SinceThi
rdCinemaf i
l
mswer ehighly
poli
ti
ci
zed,theyoft
enlackedthef undi
ng
andsupportneededforproducti
onor
di
st r
ibutionandi nsteadsoughtfunding
outsidegov ernmentagenci esor
tr
aditionalfi
nanci ngopportuni
ti
es
avail
ablet ocommer cialf
il
ms.Ot her
uniqueaspect sofThi rdCinemaf il
m
product i
onist heuseoft heirl
ocal
naturallandscapef orfil
m shooti
ngs
ofteninpar t
soft hecount rynot
previouslyseen.
Therefor
e,'Thir
dCinema' hasbroughta
uni
queandi nnovat
ivechangeint he
hi
storyofcinema.Ithasmadeci nema
i
nfluenti
alandhasencour agedsocial
changeandj usti
ce.
SomeI
mpor
tantMov
iesOfThi
rdCi
nema:
1.SugarCaneAl
l
ey(
EuzhanPal
cy,
1984)

Basedonasemi autobi
ographicalnov
elby
JosephZobel,thi
sfil
m contemplates
col
onial
ism f
rom anexistenti
ali
stand
minimal
istfr
amet hatsomet i
mesappears
tobeprett
ydirectandotherti
mesdepends
moreonasuggest ivetone.
2.
Lucí
a(Humber
toSol
ás,
1968)

Threedi f
ferentf emalechar actersnamedLucí a
takecenterst agedur ingt hreediff
erentperiods
ofCubanhi st oryinonegr andiosespectacle.
Thef il
m’sphi losophical bl
ueprintconsoli
dat es
keyaspect sofsoci alrepresentati
onlikesex,
classandpol iticalvalueswhi chinturnbecome
meshedwi thav ari
etyofl anguage
met hodologiest hatcompr i
seandcompl et
ei t
s
diagram ofpr actice.
3.
TheHouroftheFur
naces(
Fernando
Sol
anasandOctav
ioGeti
no,
1968)

Wi del
yregardedast heprimeexampl eandcrowning
achievementoftheThi rdCinemamov ement,
The
Houroft heFurnacesi sa260mi nuterevol
uti
onar
y
propagandamast erpiece.Themov i
eisdi
vi
dedint
o
threepartst
hatcan, inasense, r
especti
vel
ystand
aloneforthereasont hateachdev el
opsaparti
cul
ar
treatmentwithvary
ingmot i
fs.
WOMENI
NTHI
RDCI
NEMA:
Thir
dCinema’scrit
iqueandr esi
stanceof
Holl
ywood’si
mper i
alist“
spectat
or ”ci
nemaal
so
openedfordi
ffer
ingrepresentat
ionsofwomenin
fi
l
m.
Somefi
lmssuchas'Luci
a'
,'
TheSil
encesOfThe
Pal
ace'
,'
Sambi
zanga''
SaatAlTahr
ir
'ar
eexamples.
Whi lefemi ni
stfil
m mov ement sintheUni t
edSt ates
i
nt he1970scr it
iquedt heeur ocentri
cand
heter onormativesex ism wi thi
nt heFirst-
Wor l
d,the
i
nter sectionofheterosexi sm wi thracism and
i
mper iali
sm seemedt ogetl i
ttl
eattentionfrom
mai nst r
eam fil
mj ournal s.Becauseoft her el
uctance
ofFi rst-
Wor l
dfemi nistst oacknowl edget he
i
mpor t
anceofnat ionalism andgeogr aphicidentit
y
withindi ff
eri
ngst r
uggl esofwomen, t
hef i
lmsmade
byt hewomenofThi rdCi nemawer eusual l
yseenas
“burdened”f rom theWest ernfeministperspective
byt hesei denti
ti
es.
NONFI
CTI
ONCI
NEMA:
ACr iti
cal Hist or ycov ersal mostonehundr edy ears
i
nt hewor l
dwi dedev elopmentoft henonf i
ctionf i
lm,
from thef ir
stf act ual filmsof1895t otheci nemaof
the1980s.Nonf ictioni scont entwhosecr eat or,in
goodf aith,assumesr esponsi bi l
ityforthet ruthor
accur acyoft heev ents, peopl e, orinformat i
on
present ed.Al l thei mpor tantnonf icti
onf i
lm
mov ement s—t hef actual film, explorati
onf ilm, war
fi
lm, propagandaf i
lm, document aryfil
m, compi l
ation
fi
lm, Cinémav ér ité,film onar t,fil
msoft he
developi ngcount ries, andcont empor arywomen’ s,
l
esbi an, andgayl iber ationf ilms—ar ediscussed, as
areout st andi ngnonf i
ct ionf i
lmmaker s,including
August eandLoui sLumi èr e, ThomasA.Edi son,
DzigaVer t
ov , Est herShub, AlexanderDov zhenko,
AlbertoCav alcant i,Rober tFlaher ty,JohnGr i
er son,
PareLor ent z, Jor isI vens, Henr iStorck,Leni
Riefenst ahl, Fr ankCapr a, Wi llardVanDy ke,Al ain
Resnai s, Rober tDr ew, Richar dLeacock, D.A.
Pennebaker ,Fr eder ickWi seman, Marcel Ophul s,
Emi l
eDeAnt oni o, andAl ber tandDav idMay sles.
Thenon-f
ict
ionalf
ilmspresentact ualphysi
calreal
i
ty
i
naf ormthatstr
ivest
obef ai
thfultoactual
it
y.It
favour
seventswhicharetrueunl i
kethef i
cti
onal
fi
lmswhicharebasedoni magi naryconcepti
on.
Theref
oreNon- f
icti
oncinemahasseengr
owthinthe
hi
storyofcinemabecauseofitstr
ueandnat
ural
port
rayalofcharacter
s.