11.3 Third Cinema and alternative film practices

Third Cinema emerged in 1960s Latin America as a revolutionary filmmaking movement focused on decolonization and anti-imperialism. Unlike mainstream Hollywood cinema and European art films, it aimed to create politically engaged works that challenged dominant ideologies and power structures.

Third Cinema filmmakers used guerrilla techniques, non-professional actors, and documentary approaches to represent marginalized voices. Their work reclaimed cultural narratives, preserved local languages, and explored postcolonial identities. This movement continues to influence documentary filmmaking and world cinema today.

Third Cinema and Alternative Film Practices

Third Cinema vs mainstream cinema

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  Decolonization and the Global Reach of the ‘American Century’ | HIST 1302: US after 1877 View original

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  This is what anti-imperialism looks like: Call for posters : Peoples Dispatch View original

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  Jo Briggs, “The Second Boer War, 1899-1902: Anti-Imperialism and European Visual Culture” | BRANCH View original

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  Decolonization and the Global Reach of the ‘American Century’ | HIST 1302: US after 1877 View original

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  This is what anti-imperialism looks like: Call for posters : Peoples Dispatch View original

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Top images from around the web for Third Cinema vs mainstream cinema

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  Decolonization and the Global Reach of the ‘American Century’ | HIST 1302: US after 1877 View original

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  This is what anti-imperialism looks like: Call for posters : Peoples Dispatch View original

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  Jo Briggs, “The Second Boer War, 1899-1902: Anti-Imperialism and European Visual Culture” | BRANCH View original

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  Decolonization and the Global Reach of the ‘American Century’ | HIST 1302: US after 1877 View original

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  This is what anti-imperialism looks like: Call for posters : Peoples Dispatch View original

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• Third Cinema emerged in Latin America 1960s-1970s focused on decolonization and anti-imperialism aimed to create revolutionary cinema
• Mainstream Hollywood cinema profit-driven commercial filmmaking emphasizes entertainment and spectacle reinforces dominant ideologies
• European art cinema emphasizes artistic expression and auteur theory often experimental in form and content typically less politically engaged than Third Cinema
• Key differences include production methods (collaborative vs hierarchical), distribution (grassroots vs commercial channels), audience engagement (active participation vs passive consumption)

Strategies of Third Cinema filmmakers

• Political strategies directly critique colonial and neocolonial power structures represent marginalized voices and experiences promote collective action and social change
• Aesthetic strategies use non-professional actors incorporate documentary techniques reject classical narrative structures emphasize local languages and dialects
• Guerrilla filmmaking techniques employ low-budget production methods clandestine filming in politically sensitive locations use found footage and archival materials
• Manifestos and theoretical writings include "Towards a Third Cinema" by Fernando Solanas and Octavio Getino and "For an Imperfect Cinema" by Julio García Espinosa

Third Cinema in postcolonial identities

• Reclaiming cultural narratives challenges Western representations of the Global South explores indigenous histories and traditions
• Language and oral traditions preserves and promotes local languages incorporates storytelling techniques from oral traditions
• National cinema movements include Brazilian Cinema Novo Cuban Revolutionary Cinema and African cinema movements (FEPACI)
• Addresses postcolonial trauma explores psychological effects of colonialism represents struggle for independence
• Cultural hybridity negotiates between traditional and modern identities explores diaspora experiences (Caribbean, South Asian)

Legacy of Third Cinema

• Influences documentary filmmaking through participatory and reflexive approaches emphasis on social and political issues
• Impacts world cinema inspires other national cinema movements influences film festivals and alternative distribution networks
• Digital technology and accessibility democratizes filmmaking tools creates new platforms for distribution and audience engagement
• Continued relevance of Third Cinema principles addresses global inequalities and power imbalances represents marginalized communities (Indigenous, LGBTQ+)
• Challenges in 21st century include globalization and cultural homogenization commercialization of "world cinema"
• Legacy filmmakers and contemporary practitioners continue work of Third Cinema pioneers (Ousmane Sembène, Glauber Rocha) inspire new generation of filmmakers (Apichatpong Weerasethakul, Ava DuVernay)