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Is there an international film language? Are national, ethnic and cultural differences in how films are made and understood merely differences of dialect? Such questions have been increasingly debated in recent years with the emergence of the idea of a Third Cinema, which means not simply the films made by the so-called Third World countries, but any cinema which offers a radical challenge to entrenched Western notions of what the cinema is. In a wide-ranging series of essays, this book extends the debate about Third Cinema—in Britain and the United States as well as in Africa and Asia—and offers a provocative analysis of the political problems and aesthetic possibilities of a different kind of film-making.
Is there an international film language? Are national, ethnic and cultural differences in how films are made and understood merely differences of dialect? Such
This important anthology addresses established notions about Third Cinema theory, and the cinema practice of developing and postcolonial nations. The 'Third Cin
Wayne (Brunel U.) analyzes The Battle of Algiers as an example of films that fall within the body of theory and filmmaking practice committed to social and cult
"It is essential reading for anyone concerned with the theoretical discussion of cinema, and ideology in general." -- Semiotica ..". Heath is an antidote to the
In 1968, Argentinean Filmmakers Fernando Solanas and Octavio Getino first articulated the theory of a "Third Cinema" - a revolutionary genre of cinema that woul