Description
Book SynopsisThird Cinema, World Cinema and Marxism offers an analysis of Third Cinema and World Cinema from the perspective of Marxism. Its starting point is an observation that of all cinematic phenomena none is as intimately related to Marxism as Third Cinema, which decries neoliberalism, the capitalist system, and the Hollywood model of cinema as mere entertainment to make money. This is largely to do with the fact that both Marxism and Third Cinema are preoccupied with inequalities resulting from capital accumulation, of which colonialism is the most extreme manifestation. Third Cinema also defines cinematic modes in terms of representing interest of different classes, with First Cinema expressing imperialist, capitalist, bourgeois ideas, Second Cinema the aspirations of the middle stratum, the petit bourgeoisie and Third Cinema is a democratic, popular cinema.
Trade Review[T]his elucidating book ... [highlights] the continued relevance and crucial importance of politically engaged film practices and scholarship in all their diversity. * Film-Philosophy Journal *
Mazierska and Kristensen have put together a collection of bold, provocative and at times incendiary essays that challenge the alleged progressiveness of concepts such as world cinema and transnationalism by inviting Marxism back into the debate. The book succeeds in rescuing and reinvigorating the concept of Third Cinema by expanding it into other, hitherto unexplored avenues, and by opening its canon to overlooked works, past and present. In so doing, Third Cinema becomes Third Cinemas and World Cinema undergoes a fierce Marxist critique that puts its very relevance and validity to the test. * Cecília Mello, Senior Lecturer in Film Studies and Film Editing, University of São Paulo, Brazil *
Table of ContentsIntroduction: Ewa Mazierska and Lars Kristensen
Part 1: Revisiting Films Chapter 1: Exporting Cinemarxism in the 1960s: The Case of
Soy Cuba Andrei Rogatchevski Chapter 2: Brazil’s Open Cities: Mimicry, Sexuality, and Class Dynamics in the Urban Landscape of
Cinema Novo Bruce Williams Chapter 3: “Unreal City”: The Aesthetics of Commitment in
Pratidwandi and
Interview Koel Banerjee Chapter 4: The Peruvian Kuntur Group: A Marxist- Indigenist Filmmaking Practice
Isabel Seguí Part 2: Comparative Readings Chapter 5: Third Cinema in the 21st century: political utopia in the new documentary films of Fernando Solanas
Mariano Paz Chapter 6: Third Cinema after the turn of the millennium: Reification of the sign and the possibility of transformation
Paulina Aroch and André Dorcé Chapter 7: We Have Never Been Transnational: The Female Condition in Socialist Realism, Postsocialism, and Third Cinema
Lucian Tion Part 3: Third Cinema versus World Cinema Chapter 8: Dialogical Encounters on the Cinema of Revolution:
Save the Children Fund Film and
Metalepsis in Black David Archibald and Finn Daniels-Yeomans Chapter 9: Newsreel Front: A Revived Vision of Third Cinema in Slovenia
Andrej Šprah Chapter 10: Listening to the Future: The Film- Philosophy of Abderrahmane Sissako
William Brown Chapter 11: Class, Gender and Ethnicity in Alfonso Cuarón’s
Roma Ewa Mazierska Chapter 12: ‘After’ or Back to Third Cinema? Plebeian Film, the National Popular, Fingernails and the Resilient Behemoth
Enrique Uribe-Jongbloed and Toby Miller Index
