Third Cinema

Third Cinema is a cinema complex of movements that emerged in the context of the independence movements of the so-called Third World.

Formation

The first and now most famous film of the Third cinema is the two-part essay film La Hora de los Hornos - The Hour of the Furnaces by Pino Solanas and Octavio Getino. The importance of the film and its directors, the ( "For a Third Cinema " ) created by 1969 in his manifesto Hacia un Tercer Cine also the main theoretical basis of the Third Cinema, led to especially the Argentine and Chilean cinema of the early 1970s years was perceived as paradigmatic of the Third Cinema. Third cinema but also included movements such as the Brazilian Cinema Novo, part of the Cuban cinema (such as Tomás Gutiérrez Alea ), the films realized the Bolivian filmmaker Jorge Sanjinés together with his group Ukamau and parts mainly of Francophone African cinema (so the Cinema of Ousmane Sembene, Med Hondo and Safi Faye ). Some film- historical approaches are also similar in content oriented film movements of Asia to the Third Cinema. Thus, included two film series, the Berlin curatorial collective The Canine Condition 2009 and 2010 developed, including films from the Philippines and the People's Republic of China. Also, some new releases see the third movie rather by an anti-colonial, often Marxist-inspired orientation, defined as by a shared design language.

Aesthetics

Together was this cinema movements that they challenged the neo-colonialism and the capitalist system. The name selected Solanas and Getino one hand, analogous to the concept of the Third World, on the other hand because they earn from them conceived cinema against the Hollywood model ( first movie ), which aims to cinema as Unterhaltungemedium money, as well demarcated as against the European auteur cinema ( Cinema 2 ).

Reception

The Third Cinema was present in Western Europe for the first time visible with a performance of La Hora de los Hornos at the Film Festival in Pesaro in 1968. Followed by the film found a wide reception in Western Europe. The French film magazines Cahiers du cinéma and Cinethique devoted to the film and its directors dossier. In Germany the Third Cinema was mainly due to the emergence of the Lease of the Friends of the German Cinematheque - published (now Arsenal Institute for Film and Video Art eV ). Even today, there are numerous films of the Third cinema in the collection of the arsenal, partly each world's only surviving copy.