Intricacies of Third World Cinema

Intricacies of Third World Cinema

Third World Cinema additionally alluded to as Third Cinema, is a political and tasteful true to life development that includes underdeveloped nations. The label conveys with it a lumping together of countries from Latin America and Africa that are viewed as modernly immature. In the film business, Third Cinema nations are viewed as behind the headway of the market. Third World Cinema is essential for the recounting stories from the separate nations. The belief systems in Third Cinema are upheld in the cognizance of colonialism, class persecution and all its subsequent repercussions and signs. In this way, it clarifies why the influx of Third World Cinema started in the late twentieth century. It was during this period that there were the persistent calls and resultant activities of decolonization and self-rule for colonized Latin American and African nations. Subsequently, Third World Cinema has extraordinary systems of portrayal, complexities and ideological contestations. In the discussion of Third World Cinema, it is essential to distinguish between the aesthetic considerations, historical, cultural, ideological, political and narrative forms.

Historical background.

The theories and manifestos of Third Cinema developed in the 1960s and 1970s responding to the political, social, and economic situation in Latin American Countries that were undergoing through oppression from the Neo-colonial policies. Third movies also came up as a way of opposing the nature of First and Second World movies. Third cinema is “the cinema that recognizes the struggle of the most gigantic cultural, scientific, and artistic manifestation of our time, the great possibility of constructing a liberated personality with each people as the starting point – in a word, the decolonization of culture.” (Getino and Solanas 116) First World and Second World cinemas focused majorly on entertaining the audience without addressing any issue that the society is undergoing. Third Cinemas were formed with a theme in mind, and the compositions of the movie were not necessarily for entertainment but to for communicating to the audience about oppression and hope for revolutionary changes. In their early stages, Third Cinemas were radical practices that corresponded with the revolutionary struggles of the colonial period. Third Cinemas intended to provoke actions with and among its audience. The aggressiveness of Third Cinemas has gradually reduced in present days because of the change in revolutionary styles and development of new issues. Third World Cinemas have evolved to address any problems encountered in nation-building. The aim of current Third movies is responding to new forms of oppression to spark policymakers to make better decisions concerning the well-being of the people.

Aesthetic Considerations

Third cinemas are political in nature. Therefore, censoring them was a necessary move. Innovativeness was crucial for the production and distribution of third cinemas. Third World films employed the use of documentary footage, news videos, pictures, real interviews, video clips, and non-professional actors to bring out its political theme. These aspects made third world films appear to be relatable to inspire the audience to relate with the actual occurrences that happened before (Bordwell and Thompson 545). Dryland, for instance, portrayed the pains of hunger since deserts are dry areas that cannot support crop production to be used as food. Third cinemas had the mandate of empowering people, breaking the shackles of oppression, transforming the world to a revolution and develop consciousness. The Third Cinemas could only achieve this if it could “revamp the relationship between aesthetics and politics, turning film cultures into an arena of purposeful activism” (Sarkar). The crew behind the Third Cinemas did not play a specific role but shared roles collectively. For instance, the director could also be a cameraman or the writer at different stages of the production. Third World Cinemas used the local terrain to shoot their movies. First World and Second World cinemas used popular locations to shoot their movies.On the other hand, Cinema locations of Third Cinemas were areas within the local vicinity that are unknown to other people except for the locals. Since the films were meant to relate with the local people and be as realistic as possible, the actors in the Third World Films used the local dialect. All these unique aesthetics of Third Cinemas were channelled towards expressing the local history and the culture of the nations. They also showed the revolutionary nature of the Third World Countries that had suffered during the colonial period.

Cultural set up of the films.

Third cinemas incorporated both cultural and political critiques to challenge viewers with new cinema composition aspects. The aim of the Third Cinema is to harness the ability of films to improve social consciousness concerning issues to do with power, identity, nationhood, and oppression that was evident across the globe. Solanas and Getino used their experience in the Film “The Hour of Furnaces” to show that the most intelligent films raised group discussions. The pieces of art like music, sculpture, poetry, and paintings used in Third Cinemas were able to “reinforce the themes of the films, the climate of the showing, the ‘disinhibiting of the participants, and the dialogue” (Solanas and Getino 130). Third Cinemas aim to explain the historical processes and social processes that led to the oppression for audiences within the third world regions, particularly those that were suffering from cultural subordination. The Third Cinemas portrayed confidence in addressing these issues and indicating that the revolution was around the corner. Third World cinemas presented the picture of the realities of Third World countries without sugar-coating it with romance and sensation. This ensured that people in other countries get the exact image to initiate different discussions about the past, present and the future.

Ideological Complexities

Third World Cinema aimed at restoring the restore politics and aesthetics relationship. Therefore, Third World Cinema cultures came up with ideas of functional activism. Third World Cinemas recognized the struggle of the people in Third World countries against imperialism. These Third World cinemas, apart from representing the people in Third world countries only, they also showed the struggles of people in the imperialist countries. Third World cinemas, according to Nagib, “are the most adequate theoretical approach to ‘alternative’ cinemas in the world” (31). The aim of the Third World Cinemas was to “decolonize the minds, contribute to the development of consciousness, lead to a revolutionary transformation of society, and develop new film languages with which to accomplish these tasks” (Gabriel 3). Third cinema pioneers took advantage of advancements of infrastructure including the introduction of high-speed film, cheaper and mobile cameras, better tape recorders, along with better dissemination of skills. Solanas and Getino highlighted new chances for changing the capital on cinema production and expanding the medium’s social roles. Aligning these technological advancements and with agendas of revolution resulted in guerilla cinema that maximized on its limited resources. Third cinemas often worked without permits, defying censorship, and giving a challenge to dominant organizations and ideologies. Since the idea behind the Third Cinemas was against the politics of the nations, these films did not receive any findings from the government, and they had to source for money from external sources. Third cinema, though grounded in the historical aspects that led to its development at first, looks forward. It takes risks when coming up with the plot since some ideas are offensive to some people, especially those in power, and it empowers the society to be ready for a revolution. Third films often keep off complete aesthetics and see film making as an open field to try out new things to get the point home the best way possible.

Political Influences.

The Third Cinema notion arose when the third world countries were experiencing a charged political condition back in the 1960s. The original objectives of the Third cinema were, therefore, a product of social situations and historical circumstances of the time, particularly those that were prevalent in developing countries. Several filmmakers converged and came up with a way of making the films “fit into the political struggle of the third world” (Resolutions of the Third World Filmmakers Meeting 157). The issues that promoted the notion of Third Cinemas included corrupt governments, excessive poverty, false democracies, and oppression. These factors had adverse effects to many third world countries. The results that these problems brought along called for a response that was appropriate. Radical revolutions rapidly started to bring a reaction in politics and to champion for change. Third Cinemas used different aspects like news recordings and the local dialect in the effort of extending the radical movements that were present at the time into art and cultural production. Basing on its origin, therefore, Third Cinema became a movement that advocated for revolution in politics especially those experienced in the developing countries. Utilizing the film industry was the best radical movement since “film offered the most direct and clearest means to explain to an uneducated audience the manner and history of their exploitation” (Ekotto and Koh 4). The Third World Film, like ‘Hour of the Furnace’ to differentiate their style of cinemas from those of the First World and Second World. Third World Cinemas were revolutionary in both their content and construction. They exposed the underlying factors behind traditional film making, and at the same time, they were able to gain the attention of political structures that were responsible for bringing change.

Narrative forms in Third World Cinema

Mainstream cinemas, First World Cinemas and Second World cinemas focus on individual thinking and individual action. Third cinemas, on the other hand, emphasize social problems and group actions. While other cinemas give importance to personal success and wealth, Third Cinema gives importance to issues like racial equality, gender equality, social justice, and spreading or power and wealth. It does not mean that Third Cinemas completely lack heroes, it does, but it comes as a result of bigger problems experienced in the society. However, today’s narratives are more media-savvy than they were at the beginning of the Third Cinemas. Today’s Third cinemas are more skilled and are adopting different media into their narrative. Third Cinemas can now mix stories from different cultures. Communities in Third Cinemas are now less collective and heterogenous; this has come as a result of combining different cultures. People from the Third World are interacting with people in developed countries. Therefore, they are exchanging ideas and cultures. The narratives of Third Cinemas are changing due to these interactions. Third cinemas are now incorporating the cultures and characters from Hollywood and European cinemas. Denison cites that “while not all films have international cast, a remarkable large number use foreign characters” (133). The changes are logical since the nature of narrative communities is dynamic and and it is open to influence. However, Third World cinemas still don’t rely on the other figures to define themselves.

Third World Cinema, therefore, show the real picture of life and issues that happen in the society in the underdeveloped countries. Africa. Latin America and Asia are the pioneers of the Third Cinemas. The developing nations were under oppression. Besides the radical movements that sprung up from different angles, Third Cinemas used art and film, making it able to communicate to a broader audience the struggles of developing countries. Third cinemas give hope to empower people that collectively they can bring a change to the system and improve their living conditions. Third Cinemas came after the First and second Cinemas. Hollywood and European Cinemas but they came with a different twist that was not aiming at entertainment but calling people to action. The narrative, aesthetics, ideology, and political influences of the Third Cinemas are outstanding as far as First and Second cinemas are concerned. The history of the Third Cinemas is also exceptional since the inspiration of its beginning is functional. The aim of mainstream cinema was for entertainment and had no specific information to give to the audience to spark action. However, the world has changed; the political system has improved over the years; interactions have occurred between Third World countries and developed countries. These changes and interactions have brought significant changes to the Third World Cinema as well. Ideas of the Third Cinemas have changed and the narrative communities as well as other factors. However, Third Cinemas continue to educate and empower social action since they address real issues that happen in society.

Works Cited

David Bordwell and Kristin Thompson. (2003). Film History: An Introduction, 2nd edtn. (McGraw-Hill), 545.

Dennison, S. (2000). A Meeting of Two Worlds: Recent Trends in Brazilian Cinema. University of Leeds, pp.132-133.

Ekotto, Frieda, and Adeline Koh, eds. Rethinking Third Cinema: The role of anti-colonial media and aesthetics in postmodernity. Vol. 13. LIT Verlag Münster, 2009: 4.

Getino, O. and Solanas, F. (2011). Toward a Third Cinema”. [ebook] Primavera, p.116. Available at: https://ufsinfronteradotcom.files.wordpress.com/2011/05/tercer-cine-getino-solonas-19691.pdf [Accessed 4 Dec. 2019].

Nagib, Lúcia. “Towards a positive definition of world cinema.” Remapping world cinema: Identity, culture and politics in film (2006): 30-37.

“Resolutions of the Third World Filmmakers Meeting, Algiers, December 5–14, 1973.” Black Camera, vol. 2 no. 1, 2010, p. 155-165. Project MUSE muse.jhu.edu/article/399812.

Sarkar, B. (n.d.). Theory of Third World Cinema. [online] Academia. Available at: https://www.academia.edu/8009818/Theory_of_Third_World_Cinema [Accessed 4 Dec. 2019].