Special report. The changing geography of third cinema

Chanan, Michael

doi:10.1093/screen/38.4.372

Cited by 36 publications

(9 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…While these political cinemas have already triggered geopolitical shifts, they continue to be seen in oppositional terms vis-à-vis imperialism, a theoretical position that unfairly replicates the normative preeminence of exploitative impulses. Michael Chanan's new geographies of Third Cinema fold the margins and the interstices of the global Empire back into its centre; there, he hopes, they can redefine the terms of a collective politics of resistance appropriate to the increasingly interlaced experiences of the social outcasts of the North and the South (Chanan 1997). The programmatic commitment of anti-imperialist cinemas in Latin America, Africa, and South-East Asia evolved but never ceased to question the normativity of Western and American globalism.…”

Section: Definitionmentioning

confidence: 99%

Petrodollar Recycling

2021

The Palgrave Encyclopedia of Imperialism and Anti-Imperialism

View full text Add to dashboard Cite

This essay xamines how Pan-Africanism evolved as a variety of ideas, activities, organisations, and movements that resisted the exploitation and oppression of all those of African heritage, opposed the ideologies of racism, and celebrated African achievement and being African. It describes the manifold visions and approaches of Pan-Africanism and Pan-Africanists as a belief in the unity, common history, and common purpose of the peoples of Africa and the African diaspora, and the idea that their destinies are interconnected. Such perspectives may be traced back to ancient times, but Pan-Africanist thought and action is principally connected with, and provoked by, the modern dispersal of Africans resulting from the trafficking of captives across the Atlantic to the Americas, as well as elsewhere, from the end of the fifteenth century. This 'forced migration', the largest in history, and the creation of the African diaspora were accompanied by the emergence of global capitalism, European colonial rule, and racism.

show abstract

Section: Definitionmentioning

confidence: 99%

Petrodollar Recycling

2021

The Palgrave Encyclopedia of Imperialism and Anti-Imperialism

View full text Add to dashboard Cite

show abstract

“…This narrow and essentializing definition was later expanded. Michael Chanan (1997: 378) points out that Solanas and Getino modified their earlier position on all three categories and agreed that ‘Second Cinema could be taken to include certain attempts at an alternative type of cinema which from a more comprehensive perspective are more correctly seen as alternate models of Third Cinema’ (Chanan, 1997: 377). This theoretical expansion enabled more possibilities to utilize different filming components and allowed for experimentation with and acceptance of a hybrid production which answers to no pressure or hegemony and ‘is no longer interested in quality or technique.…”

Section: Third Cinema In Theorymentioning

confidence: 99%

Representation and emancipation: Cinema of the oppressed

Labidi

2020

International Journal of Cultural Studies

View full text Add to dashboard Cite

Palestinian cinematic productions have historically attempted to alter biased perceptions of their identity, experience of dispossession, and struggle for liberation, using films to communicate the harsh realities of Israeli occupation. While preserving a pluralistic and hybrid character, and blending different genres from Third and Second films (experimental, neorealist, and transnational), Palestinian cinema – as examined through a close reading of Tawfik Saleh’s 1972 film The Dupes, Hany Abu-Assad’s Rana’s Wedding from 2002, and Najwa Najjar’s 2014 Eyes of a Thief – contests monolithic tropes and representations of Palestinians as either victims or terrorists in Western media and films. Drawing on Edward Said’s analysis of representation and its ties to occupation, the goal of this article is to engage with the idea of film narratives as a form of intervention that demystifies racial bias against colonized people, transforms viewers’ political consciousness, and devises strategies to keep resistance legitimate and ongoing.

show abstract

“…The film ignited a change of perception on the city of Paris as a transformational zone from the Bourgeoisie to the Left, as well as experimentation. On the other end of the spectrum, the third cinema movement 9 that started in the 1960s in Latin America emphasized the importance of militant cinema in making an intervention that implies a social response, hence the political participation of the viewer (Chanan, 1997). One of the most prominent films of the era was the 1968 picture La hora de Los Hornos (English: The Hour of the Furnaces) -an experimental film that was shot semiclandestinely in conjunction with members of organized resistance (Chanan, 1997).…”

Section: The Social Role Of Public Screenings and Revolutionary Filmmaking: A Brief Historical Outlookmentioning

confidence: 99%

Film Intervention in Public Space. A Phylogenetic Spatial Change

Abdel-Ghani¹

2020

jps

View full text Add to dashboard Cite

Cinema has taken up the role of a social agent that introduced a variety of images and events to the public during critical times. This paper proposes the idea of using films as a tool to reclaim public space where a sense of belonging and dialogue restore to a meaningful place. During the January 2011 protests in Egypt, Tahrir Cinema, an independent revolutionary project composed of filmmakers and other artists, offered a space in Downtown Cairo and screened archival footage of the ongoing events to the protestors igniting civic debate and discussions. The traditional public space has undergone what Karl Kropf refers to as the phylogenetic change, i.e. form and function that is agreed upon by society and represents a common conception of certain spatial elements. Hence, the framework that this research will follow is a two-layer discourse, the existence of cinema in public spaces, and the existence of public spaces in cinema. Eventually, the paper seeks to enhance the social relationship between society, spaces, and cinematic narration – a vital tool to raise awareness about the right to the city.

show abstract

Special report. The changing geography of third cinema

Cited by 36 publications

References 0 publications

Petrodollar Recycling

Petrodollar Recycling

Representation and emancipation: Cinema of the oppressed

Film Intervention in Public Space. A Phylogenetic Spatial Change

Contact Info

Product

Resources

About