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Journal articles on the topic 'Third World cinema'
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López-Díez, Jaime, and Farshad Zahedi. "World cinema in the Spanish international festivals and movie theatres (2016-2021)." Comunicación y Sociedad 2024 (March 13, 2024): 1–28. http://dx.doi.org/10.32870/cys.v2024.8614.
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In this study, we analyze the films in the world cinema category that have been screened at the two most important international film festivals in Spain: The San Sebastian International Film Festival, and the Valladolid International Film Week in the period of 2016-2021. It is also studied the output of these festivals in terms of screenings in the Spanish cinemas during the same period. The results show that nearly a third of the films at these two festivals belong to world cinema, and about a third of these films screened at the festivals have been shown in cinemas.
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Johnson, Randal. "Recent Work on Third World Cinema." Visual Anthropology Review 5, no. 2 (September 28, 2010): 24–27. http://dx.doi.org/10.1525/var.1989.5.2.24.
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Yearwood, Gladstone L. "Cultural development and Third World cinema." Gazette (Leiden, Netherlands) 39, no. 1 (February 1987): 47–71. http://dx.doi.org/10.1177/001654928703900104.
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Cybil, K. V. "Cinema and the Political: Deleuze and the Desire of Documentation in the Third World." Deleuze and Guattari Studies 12, no. 1 (February 2018): 84–103. http://dx.doi.org/10.3366/dlgs.2018.0297.
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This paper attempts to analyse the images that animated a political movement called the Odessa Collective in Kerala since 1984. It produced six films – Amma Ariyan (A Report to Mother, 1986), Ithrayum Yathabhagam (Journey So Far, 2003), Vettayadapetta Manasu (Haunted Mind, 2006), Mortuary of Love (2009), Agnirekha (Line of Fire, 2011) and Holy Cow (2015). This paper tries to argue that the twenty-two years of this movement's politics can be studied as an assemblage of the man and machine in a Deleuzian framework on cinema of the Third World. It tries to conceptualise the linkages between the Cinéma Vérité of Jean Rouch and the Third Cinema of Solanas and Getino or the milieu of the political which creates realistic documentation in cinema. It looks at the concepts like desire and representation that intersect between these two different genres in order to reconceptualise the political in relation to Deleuze on cinema.
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Cancel, Robert, and Teshome H. Gabriel. "Third Cinema in the Third World: The Aesthetics of Liberation." African Arts 18, no. 4 (August 1985): 97. http://dx.doi.org/10.2307/3336275.
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Frodon, Jean-Michel. "Answers." Studies in World Cinema 1, no. 1 (January 27, 2021): 87–91. http://dx.doi.org/10.1163/26659891-0000b0004.
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Abstract The answers below touch on three different meanings of world cinema. First, world cinema is the acknowledgement of an existing cinema originated in the diversity of geographical and cultural contexts from all over the globe and expresses the rise of multiple local cinemas on a common international scene. Second, world cinema denotes to the films that proved to be recognizable as artistically valuable through these channels (festivals, critics, niche distributors) and conveys the idea that only certain types of films would be accepted on the international scene. And third, world cinema relates to a more specific type of films, that are not so many but gives a particular visibility to an immensely vast phenomenon with films that are either “without borders”, or mixing various origins and references. By keeping these in mind, the research on world cinema should be issue based, acknowledging de vast rainbow of various ways to make cinema, related with socio-economical and cultural contexts, political environment, inscription in various aspects of history of cinema aesthetics and other artistic and cultural means of expressions, local, regional and global. The films of world cinema are, or at least should be objects of research, objects of thinking, but also if not primarily objects of love.
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Thompson, F. "Metaphors of space: polarization, dualism and Third World cinema." Screen 34, no. 1 (March 1, 1993): 38–53. http://dx.doi.org/10.1093/screen/34.1.38.
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Action, Cinm. "“The Impact of ‘Third Cinema’ in the World” [1979]." Framework: The Journal of Cinema and Media 62, no. 1 (March 2021): 57–84. http://dx.doi.org/10.1353/frm.2021.a790371.
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Saglier, Viviane. "Decolonization, Disenchantment, and Arab Feminist Genealogies of Worldmaking." Feminist Media Histories 8, no. 1 (January 1, 2022): 72–101. http://dx.doi.org/10.1525/fmh.2022.8.1.72.
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This article analyzes the intersection of Third Worldist materialism and decolonial epistemologies in the Arab world by focusing on Lebanese filmmaker Heiny Srour’s decolonial feminist cinema in the transitional period of the 1970s to 1990s. It proposes to read Srour’s disenchanted critique of masculine Third World nationalisms and Western feminism as a practice of worldmaking that is grounded within colonial-patriarchal modernity. Using Srour’s own trajectory as an entry point into larger debates, the article reflects on what affiliation to third cinema means for crafting a cinema of liberation that reconfigures gender relations. Srour’s Leila and the Wolves (1984) exemplifies such an expansive praxis of third cinema by combining a feminist historiography that centers oral tales, myth, and genealogies with a commitment to the armed struggle. The article concludes that Srour’s decolonial feminist cinema functions as a pedagogical tool to build cross-gender coalitions necessary for the persistence of the anticolonial struggle.
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Solanas and Getino. "Towards a Third Cinema: Notes and Experiences for the Development of a Cinema of Liberation in the Third World." Black Camera 13, no. 1 (2021): 378. http://dx.doi.org/10.2979/blackcamera.13.1.0378.
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Holtmeier, Matthew. "The Modern Political Cinema: From Third Cinema to Contemporary Networked Biopolitics." Film-Philosophy 20, no. 2-3 (October 2016): 303–23. http://dx.doi.org/10.3366/film.2016.0017.
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Political cinema, particularly third cinema of the 1960s and subsequently inspired films, often relies upon the formation and transformation of subjectivity. Such films depict a becoming-political of their characters, such as Ali LaPointe's transformation from bricklayer and boxer to revolutionary in Battle of Algiers (La battaglia di Algeri, Gillo Pontecorvo, 1966 ). As subjects are politicized, they reveal social, moral, existential, or ethical exigencies that drive the politics of the film. In this respect, most narrative-driven political cinema is biopolitical cinema, although its expression shifts from film to film, or from one period of time to another. Gilles Deleuze articulated such a shift in his two works on cinema, Cinema 1: The Movement-Image and Cinema 2: The Time-Image. Namely, he points to the breaking of the link between action and reaction that marks a shift from pre-World War II cinema to the postwar filmmaking environment. To update Deleuze's project on political cinema, this article posits another qualitative shift in political cinema stemming from the emergence of neoliberal economic policies and the growth of networked information systems from the 1990s to the present. This shift compromises earlier models of political cinema and results in a modern political cinema based on the fragmentation of political publics and the formation of new political exigencies. Two films set in Algeria will be used to document this shift in political modes, in a move towards the modern political cinema: Battle of Algiers and Outside the Law (Hors-la-loi, Rachid Bouchareb, 2010 ).
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Philip, A. I. "Ewa Mazierska and Lars Kristensen (eds.) (2020) Third Cinema, World Cinema and Marxism." Film-Philosophy 26, no. 3 (October 2022): 444–47. http://dx.doi.org/10.3366/film.2022.0212.
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Ritzer, Ivo. "Maghreb forever: From Third-Worldism to the epistemology of multiplicity in media culture." Journal of African Cinemas 11, no. 2 (October 1, 2019): 103–15. http://dx.doi.org/10.1386/jac_00009_1.
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Abstract Focusing on Post-Third Cinema in the Maghreb, this article analyses productions that break ith both the elitism and the nativist agenda of Third Cinema to establish film as a mass art, which, hile still heavily politicized, no longer needs to call itself ‘African’, or ‘Arabic’ or ‘non-western’, fter all. Post-Third Cinema may therefore be a paradigm of multiplicity within World Cinema that is based n an emphatically universal approach. Regarded this way, it is an art form that is universal to the extent that it achieves a global appeal that transcends cultural differences. Drawing on the epistemology of multiplicity, as in recent times laid out by scholars such as Alain Badiou, Fredric Jameson or Quentin eillassoux, this article maps Post-Third Cinema as a paradigm of a media culture of multiplicity, ocusing on the idea of a cinematic epistemology that possesses a unique capacity for thought on its own.
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Mestman, Mariano. "From Algiers to Buenos Aires: The Third World Cinema Committee (197374)." New Cinemas: Journal of Contemporary Film 1, no. 1 (April 1, 2002): 40–53. http://dx.doi.org/10.1386/ncin.1.1.40.
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CinémAction, Buchsbaum, and Pageau. "“The Impact of ‘Third Cinema’ in the World” [1979]: “L’impact du ‘troisième cinéma’ dans le monde”." Framework: The Journal of Cinema and Media 62, no. 1 (2021): 57. http://dx.doi.org/10.13110/framework.62.1.0057.
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Pisters, Patricia. "The Filmmaker as Metallurgist: Political Cinema and World Memory." Film-Philosophy 20, no. 1 (February 2016): 149–67. http://dx.doi.org/10.3366/film.2016.0008.
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Compared to earlier waves of political cinema, such as the Russian revolution films of the 1920s and the militant Third Cinema movement in the 1960s, in today's globalized and digital media world filmmakers have adopted different strategies to express a commitment to politics. Rather than directly calling for a revolution, ‘post-cinema’ filmmakers with a political mission point to the radical contingencies of history; they return to the (audio-visual) archives and dig up never seen or forgotten materials. They reassemble stories, thoughts, and affects, bending our memories and historical consciousness. Following Deleuze and Guattari's geophilosophical ideas in A Thousand Plateaus filmmakers can be considered metallurgists. Discussing the work of Tariq Teguia, John Akomfrah and others, this article investigates several metallurgic strategies that have a performative effect in reshaping our collective memory and co-constructing the possibility of ‘a people to come.’
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Marks, Laura U. "What Can a Body Do? Answers from Trablus, Cairo, Beirut and Algiers." Paragraph 38, no. 1 (March 2015): 118–35. http://dx.doi.org/10.3366/para.2015.0150.
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The essay examines contemporary Arab films that express the body's forces. One strategy, common with other world cinemas, is that films carry out different operations at the molar and molecular levels, which correspond to different levels of embodiment and body politics. Another, more unique to Arab cinema, is to cultivate strategies of protecting and enfolding bodies, similar to what Foucault termed ars erotica. Third, they enlist the audience in a struggle to attain what Spinoza called ‘adequate ideas’, ideas that arise immanently from the body's capacities.
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Szymański, Karol. "Kina warszawskie: wrzesień–grudzień 1939 roku." Przegląd Humanistyczny 61 (September 4, 2017): 0. http://dx.doi.org/10.5604/01.3001.0010.4154.
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Karol Szymański depicts the history of the Warsaw cinemas and analyzes the cinema repertoire in the particular time from September to December 1939 (that is from the outbreak of World War II, through the defense and the siege of Warsaw, until the first months of the German occupation) taking into account a wider context of living conditions in the capital as well as a changing front and political situation. The author draws attention, among other things, to the rapid decrease in the cinema audience in the first week of September. As a consequence cinemas ceased to work, which made them unable to fulfill their informational or propaganda role and provide the inhabitants of the fighting city with the escapist or uplifting entertainment. During the siege of Warsaw some cinemas changed their functions and became a shelter for several thousand fire victims and refugees, while others were irretrievably destroyed in bombings and fires. In turn, after the capitulation and takeover of the city by the Germans, some of the most representative cinemas which survived (they were entirely expropriated by the administration of the General Government) began to gradually resume their activity from the beginning of November. By the end of 1939 there were already eight reactivated cinemas in Warsaw, including one (Helgoland, former Palladium) intended only for the Germans. These cinemas showed only German films – they were entertaining productions which were well-executed, devoid of explicit propaganda or ideological elements, with the greatest stars of the Third Reich cinema. However, December 1939 brought also the first action of the Polish resistance against German cinemas and cinema audience in Warsaw, which in the years to come developed and became an important element of the civilian fight against the occupant.
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Ivanov, Ivan. "Literature and Cinema in the Age of Globalization – Fragments of the XXI Century Cultural Hybridization Debate." Chuzhdoezikovo Obuchenie-Foreign Language Teaching 50, no. 5 (October 22, 2023): 482–89. http://dx.doi.org/10.53656/for23.531lite.
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The article examines the globalization of the 21st century, which is driven by the postmodernist processes of decanonization that create a hybrid cultural environment in the present. The main focus of the text is the film-literature relationship, which is both synergistic and competitive in the market of cultural products. The article presents key postmodern novels from the 80s and 90s of the last century and their film adaptations, which even in the 21st century reproduce with the techniques of cinema a common, archetypal, futuristic, fictional model. Cinema and literature in the third millennium are subordinated to corporate interests and media giants, and the rhizomatic interface between the arts argues for the ubiquitous hybridization of culture. In conclusion, the dialogical modes between world literature, world cinema, and world media are highlighted.
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Elduque, Albert. "Pasolini and Third World hunger: An approach to Cinema Novo through La ricotta." Journal of Italian Cinema & Media Studies 4, no. 3 (July 1, 2016): 369–85. http://dx.doi.org/10.1386/jicms.4.3.369_1.
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Lecointe, François. "The Elephants at the End of the World: Chris Marker and Third Cinema." Third Text 25, no. 1 (January 2011): 93–104. http://dx.doi.org/10.1080/09528822.2011.545616.
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Göktürk, Deniz. "Turkish-German Traffic in Cinema: A Critical Review." New Perspectives on Turkey 29 (2003): 229–43. http://dx.doi.org/10.1017/s089663460000618x.
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The Turkish-German axis is not the first route that comes to mind when rethinking German cinema in a global perspective. Turks in German cinema have tended to be cast in one-dimensional roles, as victims on the margins of society, unable to communicate and integrate. After more than four decades of Turkish presence in Germany, can we finally observe a new trend in representation, focusing more on playful enactments, mutual mirroring, and border-crossings? In an era of increasing global mobility of people and media, questions about the status of transnational cultural productions by travelers, emigrants, and exiles have achieved a new intensity. Film critics, concomitantly, have begun to call for a new genre category, one which explodes the boundaries of “original” national cultures as well as those of cinematic conventions. This new genre is variously labeled “independent transnational cinema,” (Naficy, 1996) “postcolonial hybrid films” (Shohat and Stam, 1994) or simply “world cinema,” (Roberts, 1998) a descriptor which, in contrast to older separatist categories such as “third world cinema” (Pines and Willemen, 1989) or “sub-state cinema” (Crofts, 1998), stresses the universality of mobility and diversity.
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Amit, Rea. "What Is Japanese Cinema?" positions: asia critique 27, no. 4 (November 1, 2019): 597–621. http://dx.doi.org/10.1215/10679847-7726903.
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Imamura Taihei (1911–86) is considered by many to be the first film theorist in Japan, and he is known chiefly for his two grand theories on documentary film and animation. Yet, at the same time, Imamura also developed a third, no less ambitious theory, that of “Cinema and Japanese Art,” in which he specified the national characteristics of Japanese cinema. This essay concentrates on this third and less studied thesis. Although the argument Imamura puts forth in the thesis is elusive, aspects in it enable an interpretation of Japanese cinema along lines of phenomenological critical theory. From this perspective, it appears that Imamura establishes a theorization of national cinema that is predicated not on film as a product, or ontological aspects of what films project, but rather on the phenomenology of the film-watching experience. In effect, the thesis thus defines Japanese cinema not as the total sum of films produced in Japan, or by Japanese filmmakers, but as a shared watching experience of films regardless of their country of origin. Measuring Imamura’s thesis against other theories of Japanese national cinema that were published around the same time, during World War II, the essay argues that his theorization is in fact flexible enough to withstand more recent critique leveled against the notion of national cinema, and even allows radical new ways of thinking about national cinema in the contemporary moment of a new media environment and increasing transnational cultural flows.
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Molina Barea, Maria del Carmen. "Cinema: Not Frames But Veils." CINEJ Cinema Journal 9, no. 1 (July 14, 2021): 146–80. http://dx.doi.org/10.5195/cinej.2021.312.
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The aim of this paper is to rethink the metaphors of the cinema as window and frame. The first one addresses the cinema as a transparent, open window that faithfully reproduces the world, taking the spectator’s view beyond the screen guided by realism and indexicality. The second one takes the screen as a rectangular surface that focuses the audience’s eye on the images that are produced inside its borders. In these pages I will revisit both notions, adding a third one inspired by the passe-partout of Derrida: the cinema as veil, also theorized as backdrop and decor. Ultimately, this approach explores the idea of simulacrum by analizing two examples: Blue (Apichatpong Weerasethakul, 2018) and Decor (Ahmad Abdalla, 2014).
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David William Foster. "Redirected the Gaze: Gender, Theory, and Cinema in the Third World (review)." Arizona Journal of Hispanic Cultural Studies 3, no. 1 (1999): 284–86. http://dx.doi.org/10.1353/hcs.2011.0294.
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Rodrigues, Rejane Cristina de Araujo. "O CINEMA DO TERCEIRO MUNDO SOB O OLHAR DA ANTIGEOPOLÍTICA: DITADURA E RESISTÊNCIA NA AMÉRICA LATINA." GEOgraphia 20, no. 42 (May 23, 2018): 89. http://dx.doi.org/10.22409/geographia.v20i42.1096.
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Resumo: Filmes do Cinema de Hollywood são representativos de um imaginário geopolítico hegemônico. A este imaginário contrapõe-se uma antigeopolítica identificada nas representações de filmes do Cinema do Terceiro Mundo. Partindo de importantes contribuições da geografia política crítica que apontam para articulações entre as representações geopolíticas e os filmes, analisamos três filmes que retratam a América Latina em um dos períodos mais conturbados da sua história. Sua análise nos revela elementos característicos de uma geopolítica de resistência durante as ditaduras civil-militares implantadas no Brasil, no Chile e na Argentina.Palavras-chave: Antigeopolítica. Cinema. América Latina. Ditadura. THE THIRD WORLD CINEMA UNDER THE ANTIGEOPOLITICS VIEW: DICTATORSHIP AND RESISTANCE IN LATIN AMERICAAbstract: Hollywood film movies are representative of a hegemonic geopolitical imaginary. This imaginary contrasts with an antigeopolitics identified in the Third World Cinema representations. Based on important contributions from critical political geography that points to articulations between geopolitical representations and movies, we analyze three cinema productions that portray Latin America in one of the most troubled periods of its history. That analysis reveals elements of a geopolitics of resistance related to the civil-military dictatorships implanted in Brazil, Chile and Argentina.Keywords: Antigeopolitics. Movies. Latin America. Dictatorship. EL CINE DEL TERCER MUNDO BAJO LA VISIÓN ANTIGEOPOLÍTICA: DICTADURA Y RESISTENCIA EN AMÉRICA LATINAResumen: Películas del Cine de Hollywood son representativas de un imaginario geopolítico hegemónico. A este imaginario se contrapone una antigeopolítica identificada en las representaciones de películas del Cine del Tercer Mundo. A partir de importantes contribuciones de la geografía política crítica que apuntan para articulaciones entre las representaciones geopolíticas y las películas, analizamos tres películas que retratan la América Latina en uno de los períodos más revueltos de su historia. Su análisis nos revela elementos característicos de una geopolítica de resistencia durante las dictaduras implantadas en Brasil, en Chile y en Argentina.Palabras clave: Antigeopolítica. Cine. América Latina. Dictadura.
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Rodrigues, Rejane Cristina de Araujo. "O CINEMA DO TERCEIRO MUNDO SOB O OLHAR DA ANTIGEOPOLÍTICA: DITADURA E RESISTÊNCIA NA AMÉRICA LATINA." GEOgraphia 20, no. 42 (May 23, 2018): 89. http://dx.doi.org/10.22409/geographia2018.2042.a13835.
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Resumo: Filmes do Cinema de Hollywood são representativos de um imaginário geopolítico hegemônico. A este imaginário contrapõe-se uma antigeopolítica identificada nas representações de filmes do Cinema do Terceiro Mundo. Partindo de importantes contribuições da geografia política crítica que apontam para articulações entre as representações geopolíticas e os filmes, analisamos três filmes que retratam a América Latina em um dos períodos mais conturbados da sua história. Sua análise nos revela elementos característicos de uma geopolítica de resistência durante as ditaduras civil-militares implantadas no Brasil, no Chile e na Argentina.Palavras-chave: Antigeopolítica. Cinema. América Latina. Ditadura. THE THIRD WORLD CINEMA UNDER THE ANTIGEOPOLITICS VIEW: DICTATORSHIP AND RESISTANCE IN LATIN AMERICAAbstract: Hollywood film movies are representative of a hegemonic geopolitical imaginary. This imaginary contrasts with an antigeopolitics identified in the Third World Cinema representations. Based on important contributions from critical political geography that points to articulations between geopolitical representations and movies, we analyze three cinema productions that portray Latin America in one of the most troubled periods of its history. That analysis reveals elements of a geopolitics of resistance related to the civil-military dictatorships implanted in Brazil, Chile and Argentina.Keywords: Antigeopolitics. Movies. Latin America. Dictatorship. EL CINE DEL TERCER MUNDO BAJO LA VISIÓN ANTIGEOPOLÍTICA: DICTADURA Y RESISTENCIA EN AMÉRICA LATINAResumen: Películas del Cine de Hollywood son representativas de un imaginario geopolítico hegemónico. A este imaginario se contrapone una antigeopolítica identificada en las representaciones de películas del Cine del Tercer Mundo. A partir de importantes contribuciones de la geografía política crítica que apuntan para articulaciones entre las representaciones geopolíticas y las películas, analizamos tres películas que retratan la América Latina en uno de los períodos más revueltos de su historia. Su análisis nos revela elementos característicos de una geopolítica de resistencia durante las dictaduras implantadas en Brasil, en Chile y en Argentina.Palabras clave: Antigeopolítica. Cine. América Latina. Dictadura.
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Rodrigues, Rejane Cristina de Araujo. "O CINEMA DO TERCEIRO MUNDO SOB O OLHAR DA ANTIGEOPOLÍTICA: DITADURA E RESISTÊNCIA NA AMÉRICA LATINA." GEOgraphia 20, no. 42 (May 23, 2018): 89. http://dx.doi.org/10.22409/geographia2018.v20i42.a13835.
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Resumo: Filmes do Cinema de Hollywood são representativos de um imaginário geopolítico hegemônico. A este imaginário contrapõe-se uma antigeopolítica identificada nas representações de filmes do Cinema do Terceiro Mundo. Partindo de importantes contribuições da geografia política crítica que apontam para articulações entre as representações geopolíticas e os filmes, analisamos três filmes que retratam a América Latina em um dos períodos mais conturbados da sua história. Sua análise nos revela elementos característicos de uma geopolítica de resistência durante as ditaduras civil-militares implantadas no Brasil, no Chile e na Argentina.Palavras-chave: Antigeopolítica. Cinema. América Latina. Ditadura. THE THIRD WORLD CINEMA UNDER THE ANTIGEOPOLITICS VIEW: DICTATORSHIP AND RESISTANCE IN LATIN AMERICAAbstract: Hollywood film movies are representative of a hegemonic geopolitical imaginary. This imaginary contrasts with an antigeopolitics identified in the Third World Cinema representations. Based on important contributions from critical political geography that points to articulations between geopolitical representations and movies, we analyze three cinema productions that portray Latin America in one of the most troubled periods of its history. That analysis reveals elements of a geopolitics of resistance related to the civil-military dictatorships implanted in Brazil, Chile and Argentina.Keywords: Antigeopolitics. Movies. Latin America. Dictatorship. EL CINE DEL TERCER MUNDO BAJO LA VISIÓN ANTIGEOPOLÍTICA: DICTADURA Y RESISTENCIA EN AMÉRICA LATINAResumen: Películas del Cine de Hollywood son representativas de un imaginario geopolítico hegemónico. A este imaginario se contrapone una antigeopolítica identificada en las representaciones de películas del Cine del Tercer Mundo. A partir de importantes contribuciones de la geografía política crítica que apuntan para articulaciones entre las representaciones geopolíticas y las películas, analizamos tres películas que retratan la América Latina en uno de los períodos más revueltos de su historia. Su análisis nos revela elementos característicos de una geopolítica de resistencia durante las dictaduras implantadas en Brasil, en Chile y en Argentina.Palabras clave: Antigeopolítica. Cine. América Latina. Dictadura.
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Han, Chuyi. "Documentary Aesthetics and International Communication of Iranian Films from the Perspective of the Third Cinema." BCP Social Sciences & Humanities 18 (June 30, 2022): 337–43. http://dx.doi.org/10.54691/bcpssh.v18i.1131.
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The Iranian film represented by The White Balloon includes a series of elements such as colonialism, class, race, sex and gender in the third cinema. Religious culture makes Iranian films not only contain humanitarian concerns, but also become the representative of ideology. The description of women’s survival dilemma and the displacement of Hazara reflects the complexity of the social environment. Under strict censorship, Iranian directors cast their eyes on the lives of children at the bottom. Long shots, single-line narrative logic, circle narrative structure and open ending constitute an important part of the documentary aesthetics of Iranian films. As the representative of the third cinema, the Iranian film is facing various difficulties in reality, breaking through in the context of globalization, and providing a development road of combining nationality with the world and individuality with localization for other countries’ films.
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Kleshchenko, Liudmila. "The image of Latin America in Soviet and American Cold War Cinema." Metamorphoses of history, no. 25 (2022): 0. http://dx.doi.org/10.37490/s230861810023095-4.
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The article examines the peculiarities of the representation of Latin American images in Soviet and American cinema during the Cold War. The author concludes that there are certain similarities in the representation of Latin America in the films of the USA and the USSR: both of them mainly create the image of Latin American countries as being at a lower stage of social development. The inclusion of images of third countries, including Latin American countries, in the film narrative was intended to perform the following functions: to demonstrate the atrocities of the enemy (against the population of third countries) or the courage of "their", designed to protect allies from third countries in need. The fulfillment of these functions is conditioned by the specifics of the interpretation of Latin American countries in Soviet and American cinema as "third world countries": uncivilized, wild, and full of dangers. In turn, the activities of an opponent country in the international arena in the Latin American region are often viewed as harmful, hindering its political development. The difference between the images of Latin America in American cinema is their greater diversity, which became possible due to less strict regulation of film production, as well as due to the historical and geographical proximity of Latin America to the United States, which led to the persistent interest of cinematographers in Latin American issues. The specificity of Soviet cinema is, firstly, the desire to create a collective image of Latin America without differentiation by country. Secondly, the glorification of Latin American revolutionaries.
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Ciancio, Belén. "Bodies, Gestus, Becoming: Cinema as a Technology of Gender and (Post)memory." Deleuze and Guattari Studies 12, no. 4 (November 2018): 555–71. http://dx.doi.org/10.3366/dlgs.2018.0332.
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The first issue this essay examines is the articulation of the cinema of the body, the feminine gestus, and the ‘political cinema’, which begins with the philosophical shout, ‘Give me a body, then!’ and ends with the ‘Third World Cinema’ as a cinema of memory. How is this Deleuzian concept in tension with the one proposed here of ‘missing body’? The second issue concerns the importance of the body for theory and practice within feminist film theory and queer theory. The question of the body is introduced in-between these two lines in the context of a series of Latin American documentaries. The final problem is then how to see and show a body that is missing, like an outside of the body image, and of a certain regime of the visible and the audible that tends to be fixed in topics by the production of technologies of (post)memory.
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Marez, C. "Pancho Villa Meets Sun Yat-sen: Third World Revolution and the History of Hollywood Cinema." American Literary History 17, no. 3 (September 1, 2005): 486–505. http://dx.doi.org/10.1093/alh/aji027.
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Filenko, Kristina V., and Evgenia A. Polinovskaya. "The Phenomenon of the Cinema of the Third Reich in the Focus of Modern European Historical Studies." Herald of Omsk University. Series: Historical Studies 7, no. 1 (25) (July 7, 2020): 98–102. http://dx.doi.org/10.24147/2312-1300.2020.7(1).98-102.
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The article discusses scientific theories and approaches to the analysis of the Third Reich cinema. At the same time, the authors updated political trends in the modern world. A consequence of these tendencies was the difficulty facing researchers in studying topics of a politically engaged nature. In their article, the authors sought to consider the most modern research of historians.
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Ellis, Ashley D. "Transforming education with Black diaspora film and filmmaking practice." Journal of African Cinemas 13, no. 1 (December 1, 2021): 29–41. http://dx.doi.org/10.1386/jac_00042_1.
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At the first Third World Filmmakers Meeting held in Algiers in 1973, participants resolved that the cinema they envisioned could conscientize audiences and continue Indigenous and African storytelling traditions. Today, there is a robust canon of Black diaspora cinema, which should be preserved, archived and analysed. Yet when coupled with filmmaking practice, it can become living history as a tool in the application of critical pedagogy. This article considers Black diaspora film and filmmaking practice as mechanisms for the radical transformation of education. It examines how oppositional cinematic representations can spark critical consciousness and how filmmaking practice can put emotional intelligence at the centre of learning.
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Bamba, Mahomed. "In the name of 'cinema action' and Third World: The intervention of foreign film-makers in Mozambican cinema in the 1970s and 1980s." Journal of African Cinemas 3, no. 2 (March 1, 2012): 173–85. http://dx.doi.org/10.1386/jac.3.2.173_1.
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Zubel, Marla. "Toward a Second World Third Cinema: anti-colonial internationalism in Tadeusz Jaworski's 80 Days of Lumumba." Studies in Eastern European Cinema 7, no. 3 (August 15, 2016): 190–207. http://dx.doi.org/10.1080/2040350x.2016.1219178.
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Hanke, Bob. "Roy Andersson's Living Trilogy and Jean-Luc Nancy's Evidence of Cinema." Film-Philosophy 23, no. 1 (February 2019): 72–92. http://dx.doi.org/10.3366/film.2019.0099.
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In this article, I explore three films that comprise Swedish director Roy Andersson's “Living Trilogy” – Songs from the Second Floor (2000); You, the Living (2007); and A Pigeon Sat on a Branch Reflecting on Existence (2014). My aim is to push the philosophical bearing of Andersson's films towards Jean-Luc Nancy's philosophy of art and cinema. How should we understand his cinematic way of looking, intermedial images, and production of sense? First, I trace Andersson's concept of the “complex image” and aesthetic of “trivialism.” Second, I outline Nancy's approach to “presentation” and the “evidence of film.” Third, I describe Andersson's “axiomatics” of looking and collection of characters. Finally, I consider the ways this co-existential trilogy suggests a realization of a Nancian ontology of being-with and exposure to the sense of a world. I contend that Andersson's style is a praxis and a regard for this world. What his fragmentary films communicate to us can be illuminated by Nancy's idea that some cinema makes evident a sense of the world.
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SARWARI, Moqadassa, and Abbas MOHAMMADI. "The effect of cinema on human social behavior." AVANCA | CINEMA, no. 14 (January 5, 2024): 459–68. http://dx.doi.org/10.37390/avancacinema.2023.a531.
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Humans and creatures live by communication. The start moment of existence is the beginning of communication. But communication has taken different forms in different eras. Communication may be visual, auditory or sensory. In the world of beings, one of these communication methods is used as needed. In the field of visual communication, one of the most important parts is communication through images. This type of communication has been formed since the early times of human existence. Its signs are also petroglyphs that have been found in caves since the past centuries. This relationship changed shape in different eras and turned into painting, photography, and then into cinema and television images.Apart from being an art, cinema is an audio-visual medium that uses a combination of other arts to communicate with the audience. Nowadays, it is used in various ways to establish a communication bridge between cinema producers and social audiences. Because with it, they can convey the content they want to their audience. In essence, cinema is a bridge between the film producer and the target audience. But the type of use of this powerful and effective tool is different. In European and American countries, which are the founders of this means of communication, they use it well. But in the countries of the third world, especially the countries of the Middle East, especially Afghanistan, they could not use this magical tool to establish communication in order to change their society. The reason is the lack of sufficient knowledge of psychology, sociology, cultural studies and cinema technology and the power of image art to optimally use this means of mass communication.
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Bédard, Philippe. "Disembodied perspective." Alphaville: Journal of Film and Screen Media, no. 9 (October 27, 2015): 74–88. http://dx.doi.org/10.33178/alpha.9.05.
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Used as much in extreme-sports videos and professional productions as in amateur and home videos, GoPro wearable cameras have become ubiquitous in contemporary moving image culture. During its swift and ongoing rise in popularity, GoPro has also enabled the creation of new and unusual points of view, among which are “third-person images”. This article introduces and defines this particular phenomenon through an approach that deals with both the aesthetic and technical characteristics of the images in question. An analysis is presented of the peculiar and unfamiliar appearance of third-person images, in which the head of the user remains fixed in space while the world around it moves independently. Technical descriptions are provided to explain why the perception of the world presented in third-person images differs so radically from our own “first-person” mode of perception. Throughout the article, descriptions and analyses of GoPro videos are supported by parallels to theories of movement and perception in the cinema, specifically Vivian Sobchack’s film phenomenology.
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Andreeva, O. V. "Transformation of Artistic Imageries of the World and National Cinema in the Era of Postmodern." Discourse 7, no. 6 (December 21, 2021): 42–61. http://dx.doi.org/10.32603/2412-8562-2021-7-6-42-61.
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Introduction. In the last third of the 20th century new trends appeared in various spheres of public life. That made possible to characterize this time period as the era of postmodern. The culture processes of this period were called postmodernism. Despite significant research on the topic and phenomenon of postmodernism, it remains a subject of discussion, which makes the problem of its further study actual. The article reveals postmodernism through the prism of new accents in the disclosure of artistic images in world and national cinema. Transformation of artistic imageries in the cinema is analyzed in the historical, cultural and philosophical terms, which is an element of novelty of the article.Methodology and sources. The methodology is based on the analysis of sources and literature, taking into account interdisciplinary approaches. Historical, comparative, systemic and semiotic research approaches are used. The author also used an integrated approach (formational and civilizational), which gives us a new perspective in understanding cultural phenomenon.Results and discussion. The artistic images of the world cinema are conceptually considered in a comparative analysis with the pre-war and post-war eras. The theoretical basis is the work of foreign (F. Jameson, J. Lacan) and domestic researchers (V.M. Dianova, I.P. Ilyin, N.A. Khrenov). National cinematography in the postmodern era is studied in the context of global and European processes, which makes possible to identify its general and specific feature.The results of the study show that in the last third of the 20th century, a significant transformation of artistic imageries took place in the world and in the national cinematography. It was based on unprecented social and cultural processes that led to profound behavioral and discursive changes. National cinematography reflected in its development global trends. However, the cultural development of Russian society in the postmodern era coincided with a systemic crisis and the collapse of statehood. That determined the specificity of Russian postmodernism, its philosophical and cultural orientation. In this regard, the urgency of the problem of studying the cultural dynamics of spiritual processes of the late Soviet period and post-Soviet Russia, including in cinematography, is obvious.Conclusion. Cinematography as one of the most important phenomena fully reflects the dynamics of modern spiritual processes. Therefore, the study of artistic imageries of the world and national cinematography in the postmodern era is of significant research interest. The use of interdisciplinary and integrated approaches, taking into account the achievements of foreign and national researches, allows us to get a multidimensial picture of the spiritual transformation of the society. An unbiased understanding of the cultural and historical experience of the last third of the 20th century makes it possible to better understand the modern world, because without an analysis of the past, both the present and the future are inconceivable.
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Mestman, Mariano. "I dannati della terra: The Italian left facing the Third World on the eve of 1968." Journal of Italian Cinema & Media Studies 9, no. 3 (June 1, 2021): 385–410. http://dx.doi.org/10.1386/jicms_00083_1.
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The Italian film I dannati della terra (The Damned of the Earth) (Orsini and Filippi 1968) is a prominent example of the connection between the European cinema of intervention and the Third World struggles of the 1960s. Set as a ‘film within a film’, the movie tells the story of a leftist filmmaker, Fausto Morelli, who faces the challenge of finishing a film about the liberation struggles of sub-Saharan Africa by building on the documentary footage that was bequeathed to him by his student and friend, the young Abramo Malonga, an African (Bantu). This article recovers overlooked and little-known documents about the film to show that it is the expression of an active cinematic Third Worldism forged in previous years between the legacy of the Resistenza Partigiana (Italian Resistance) and the Third World struggles of the 1960s. At the same time, the article analyses the ways in which the film ‘dialogues’ with experimental trends of the contemporary avant-garde artistic scene in order to challenge the viewer to debate the ‘open ideological hypothesis’ of the film and take an active part in the political struggles of the time.
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Matkin, Aleksei V. "The evolution of visual instruments of VR cinema." Journal of Flm Arts and Film Studies 11, no. 3 (November 13, 2019): 42–52. http://dx.doi.org/10.17816/vgik11342-52.
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The author states the achievement by virtual reality technology of a certain stage of maturity. Virtual reality equipment as a means of film exhibition not only determines our aesthetic experience but fundamentally changes film language the duration of a film and particular takes, their composition, the specifics of inter-shot and intra-shot editing, etc. The essay explores the visual system of VR cinema, a phenomenon which is gaining more and more spectator popularity.
Defining the depth of immersiveness as the fundamental difference between traditional and VR cinema, the author identifies aspects characteristic of the latter aspects determining its creative method. Among them is limited length (the duration of a typical VR film rarely exceeds 1520 minutes), a 360-degree view, the representation of spherical space (for example, the viewer does not see anything more than shown to him in the film), and interactivity, which manifests itself in the spectator's freedom of to choose the area of focus and borrows elements of gaming practices.
The essay analyzes typical mise en scnes and highlights the basic ones. The most important aim of mise en scne along the first person axis is to give the viewer an opportunity to feel in a different way, to look at the world with other people's eyes. In passive mise en scne along the third person radius, where the axis of movement is absent, the semantic center of is expressed not so clearly. This type implies the viewer's aspiration to study the surrounding space. The third type is active mise en scne along the third person radius, which corresponds to the look of an active full participant in the shown events instead of the look of an abstract observer from the inside. The essay describes the mechanism of synthesis of mise en scnes with the aim of obtaining a new artistic quality.
The author emphasizes such aspects of the artistic uniqueness of VR cinema as expressive minimalism, minimization of the value of editing, and new attitudes towards camera work. In conclusion, he describes the current state of VR cinema and looks at the basic principles of the development of its artistic uniqueness.
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Demydenko, Maksym. "National images and symbols of visual Ukrainian cinematography in the works of foreign scholars." CONTEMPORARY ART, no. 18 (November 29, 2022): 141–50. http://dx.doi.org/10.31500/2309-8813.18.2022.269722.
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The article is devoted to the problem of historical symbolism in the visual language of Ukrainian cinema. The focus is on the foreign historiography of the problem, which today is one of the most relevant areas in the general scientific discourse of the problem. The author notes that at present, the understanding of national imagery and symbolism in cinematography continues within the framework of two parallel strategies: 1) as the still active deconstruction of existing historical images and visual narratives (especially in cinematography and in general within the framework of audiovisual art) of the Soviet era; 2) as the formation of a new look at the models of national imagery. Within these limits, foreign historiography of the problem is extremely important, in which the analysis of the visual language of Ukrainian cinematography presents many reflective characteristics. The studies analyzed by the author make it possible to single out three areas within which the research of national images and symbols in the visual language of Ukrainian cinematography is being actively continued. First of all, this direction of analysis is the symbolic imagery of Ukrainian cinema in an interpretive way. No less important for foreign historiography is the comparative direction. Finally, within the framework of a complex direction, foreign researchers are making an attempt to accumulate the experience of analyzing Ukrainian cinema and, on this basis, to give its evolution a systemic character, to fit it into the pan-European context. The article ends with conclusions. The author notes that modern Ukrainian cinema is an organic part of the pan-European and world context of cinema. In this form, its presentation as a national pattern of symbolism often emerges in a universal and systemic vision. Within the framework of the first one, which is the earliest in terms of time, the symbolic imagery of Ukrainian cinema is studied in the historical and chronological context. In works. B. Berest, J. Fest, J. Gurg and other scientists, the symbolism of the visual language of Ukrainian cinema is represented linearly. Within the framework of the second direction, national images and symbols in the cinematic language are considered as objects of comparative practices of comparison and comparison with the parallel national spaces of European cinema: Polish, Baltic countries, Moldova, etc. O. Pressitch, A. Narushito, Rzh. Sandal, S. Lewis S. Brower and other researchers. The third direction combines the research of foreign scientists focused on the search for universal schemes for analyzing European and world cinema, within which domestic cinema is often given an important, but secondary role. In the works of K. Portugues, K. Farmer, M. de Valk, K. Celli and other scientists, national images and symbols in the visual language of Ukrainian cinema play an instrumental role that allows to determine the pain of typological and systemic processes in the development of European cinema.
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Dutta, Minakshi. "A Reading of Bhabendra Nath Saikia's Films from Feminist Lens." CINEJ Cinema Journal 8, no. 2 (December 3, 2020): 247–74. http://dx.doi.org/10.5195/cinej.2020.261.
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Feminist movement deconstructs the constructed images of women on the screen as well. The gap between real and reel woman is a vibrant topic of discussion for the feminist scholars. As a regional genre of Indian film industry Assamese film flourished during the third decades of twentieth century. Like the films of other parts of the world, Assamese films also constructing the image of woman, particularly Assamese women, in its own way of projection. Hence, this article is an attempt to explore the questions related to women’s representation by taking the films of Assamese director Dr. Bhabendra Nath Saikia as reference. Moreover, as per the demand of the article it will cover a historical overview of the representation of women in Indian cinema and Assamese cinema. Different theories from psychoanalysis and feminism will be applied to analyze the select movies.
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Gottesman, Zachary Samuel. "The Rotoscopic Uncanny: Aku no Hana and the Aesthetic of Japanese Postmodernity." Animation 13, no. 3 (November 2018): 192–206. http://dx.doi.org/10.1177/1746847718799416.
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CGI has led to a theoretical revolution in media studies. What is cinema when reality can be created on a computer? What is animation when superflat 2D aesthetics are becoming haunted by 3D digital graphics? This article adds a third term to the debate: rotoscoping. The author analyzes the first exclusively rotoscoped Japanese anime, Aku no Hana (The Flowers of Evil), a contemporary reinterpretation of Charles Baudelaire’s Les Fleurs du Mal that reflects on postmodern malaise, rural decay and depopulation, and otaku escapism, in order to examine the aesthetic of the rotoscope in relation to cinema and anime. He argues that rotoscoping is an uncannying of the cinematism and animitism, or a polemical response to both the ideologies of Disney immersive realism and anime flat animation. The article investigates the narrative’s ‘writer of postmodern life’ Sawa Nakamura in relation to Baudelaire’s modernism and the conditions of postmodernity themselves: the structure of Japanese imperialism today and its effect on Gunma prefecture, the setting of the show. Finally, the author analyzes the hostile response to the show among otaku to explore how the hauntology of the rotoscopic machine channels the ghosts of neoliberalism, the super-exploited laborers of the third world.
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Vasudevan, R. S. "Addressing the spectator of a 'third world' national cinema: the Bombay 'social' film of the 1940s and 1950s." Screen 36, no. 4 (December 1, 1995): 305–24. http://dx.doi.org/10.1093/screen/36.4.305.
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Kim, Hee-Jung. "Chronicles of Christmas Eve Night: Kieślowski’s Study of the “Decalogue 3”." East European and Balkan Institute 47, no. 4 (November 30, 2023): 31–47. http://dx.doi.org/10.19170/eebs.2023.47.4.31.
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Polish Director Krzysztof Kieślowski made his mark on the world cinema scene with his 10-part TV series The Ten Commandments, produced by Polish national television. In this study, we will focus on the third installment of the series, “The Ten Commandments,”(The Decalogue) which takes place overnight on Christmas Eve. “The Third Commandment”(Decalogue 3) is a collaboration between co-screenwriter Krzysztof Piesiewicz and Piotr Sobociński, the cinematographer of Kieślowski’s last film, Red. This study explores the significance of Kieślowski’s use of Christmas Eve, Poland’s largest holiday, and his embodiment of the universal human experiences of loneliness and melancholy into the celebration of Christmas. In particular, the chapter on scene analysis focuses on the opening and the temporal and spatial arrangement of dramatic events.
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Dickinson, Kay. "Be Wary of Anniversaries." Film Quarterly 75, no. 2 (2021): 40–48. http://dx.doi.org/10.1525/fq.2021.75.2.40.
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The uprisings categorized as the “Arab Spring” were not spontaneous events. To make them seem so is to marginalize the lineage of activism that brought them into being. Within cinema, this decades-long struggle has been invigorated by militant manifesto writing, collective film production, and the development of viewing communities dedicated to Third World liberation, often infrastructurally supported by now vanquished nationalized post- and anticolonial institutions. Barra fi al-Shari‘/Out on the Street (Jamina Metwaly and Philip Rizk, 2015) catalyzes many of these revolutionary histories. Drawing on archival and shared footage dedicated to fighting for workers’ rights, the film’s communally conceived plot pivots around a factory takeover. The narrative is carried by contributors whom the filmmakers call “en-actors.” These en-actors both restage the violence exerted upon them by managers and the police and exemplify how cinema can become a form of training–for those on screen and in the audience–for future revolutionary action.
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Arora, Dr Bhawna Vij. "Structuring the Counter-Discourses in Anand Patwardhan’s Documentary Oeuvre." SMART MOVES JOURNAL IJELLH 7, no. 11 (November 28, 2019): 22. http://dx.doi.org/10.24113/ijellh.v7i11.10106.
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Anand Patwardhan’s documentary oeuvre has established itself as a resistance cinema of the Third-World, drawing influences from the Latin-American cinematic practices as against the agit-prop of 1907 Russian revolutionary tradition as well as the American and Grierson tradition of filmmaking. In India, while the revisionary historiography fills in these lacunas of providing multiple narratives and voices to the disparate growth story of the nation, independent political documentaries (IDP) and especially Patwardhan’s work provide an inevitable visual-dimension to such narratives of growth and development, functioning as crucial sources of intervention to history and cinema both. His documentary projects have well-spoken against the indigenous fundamentalism, sectarian and communal antagonism, casteism and religious riots and has been touted as a critical whistleblower to the miscellaneous malpractices in government institutions. Despite being rejected, censored and having being faced other obstacles form the monopolized CBFC and Film Division, apart from the independent wrath of belligerent forces and cultural diktats, Patwardhan has been an unstoppable and controversial filmmaker.
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Demchenko, Alexander I. "The Middle Ages (from the Birth of Christ to the 13th Century). The East and the West." ICONI, no. 3 (2020): 6–27. http://dx.doi.org/10.33779/2658-4824.2020.3.006-027.
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The essence of the series of essays published by the journal is that with a maximum compactness of the presentation, it provides a summary of the main phenomena of world artistic culture, covered in its entirety both from the point of view of the general historical process, and in relation to the various arts (literature, the fi ne arts, architecture, music, theater and cinema). At the same time, the customary categorization according to national schools and the division into the separate respective arts with the genre specifi cation inherent in each of them are overcome, which answers the positive trends of globalization and provides a holistic view of artistic phenomena. The following artistic and historical periods are considered in stages: the Ancient world, the Greco-Roman world, the Middle Ages, the Renaissance era, the Baroque period, the Enlightenment, Romanticism, Post-romanticism, the fi rst, second and third Modern periods, Postmodernism, and, as an afterword, — “The Golden age of Russian artistic culture.”