1960 жылдарғы саяси кино қозғалысы: «Үшінші кино»

Political film movement started in the 1960s
Third Cinema (lang es) is a Latin American film movement that started in the 1960s–70s which decries neocolonialism, the capitalist system, and the Hollywood model of cinema as mere entertainment to make money. The term was coined in the manifesto Hacia un tercer cine (Toward a Third Cinema), written in the late 1960s by Argentine filmmakers Fernando Solanas and Octavio Getino, members of the Grupo Cine Liberación and published in 1969 in the journal Tricontinental by the OSPAAAL (Organization of Solidarity with the People of Asia, Africa and Latin America).

Solanas and Getino's manifesto considers 'First Cinema' to be the Hollywood production model that idealizes bourgeois values to a passive audience through escapist spectacle and individual characters. 'Second Cinema' is the European art film, which rejects Hollywood conventions but is centred on the individual expression of the auteur director. Third Cinema is meant to be non commercialized, challenging Hollywood's model. Third Cinema rejects the view of cinema as a vehicle for personal expression, seeing the director instead as part of a collective; it appeals to the masses by presenting the truth and inspiring revolutionary activism. Solanas and Getino strongly argue that traditional exhibition models also should not be used: the films should be screened clandestinely, both in order to dodge censorship and commercial networks, but also so that the viewer must take a risk to see them. There are still some difficulties to clearly define what is considered "First Cinema" versus "Third Cinema". For example, Bollywood, one of the largest centres of film production in the world, can be viewed as resistance against "First Cinema" due to political, cultural and aesthetic differences, but at the same time it can also be said that Bollywood is a popular commercialized industry.

There are four manifestos accredited to beginning the genre of Third Cinema: Glauber Rocha's "Aesthetic of Hunger" (1965), Julio García Espinosa's "For an Imperfect Cinema" (1969), "Problems of Form and Content in Revolutionary Cinema" (1976) by Jorge Sanjinés, and finally "Toward a Third Cinema" (1969) by Fernando Solanas and Octavio Getino. Although all four define the broad and far reaching genre, Solanas and Getino's “Toward a Third Cinema” is well known for its political stance and outline of the genre.

Due to their political nature, Third Cinema films were often censored and therefore, the production and distribution of these films were innovative. Films used documentary clips, news reels, photographs, video clips, interviews and/or statistics and in some cases, non professional actors. These production elements are combined in an inventive manner to create a message that is specific to its local audience. The staff in production share all aspects of the production process by working collectively. In Third Cinema, for example, a Director can be the Cameraman, the Photographer or the Writer at different phases of the production. Since Third Cinema films were highly politicized, they often lacked the funding and support needed for production or distribution and instead sought funding outside government agencies or traditional financing opportunities available to commercial films. Other unique aspects of Third Cinema film production is the use of their local natural landscape for film shootings often in parts of the country not previously seen. This unique feature was augmented by highlighting the local history and culture of its nation.

Third Cinema's critique and resistance of Hollywood's imperialist "spectator cinema" also opened for differing representations of women in film. While feminist film movements in the United States in the 1970s critiqued the eurocentric and heteronormative sexism within the First World, the intersection of heterosexism with racism and imperialism seemed to get little attention from mainstream film journals. Because of the reluctance of First World feminists to acknowledge the importance of nationalism and geographic identity within differing struggles of women, the films made by the women of Third Cinema were usually seen as "burdened" from the Western feminist perspective by these identities. "Notions of nation and race, along with community based work, are implicitly dismissed as both too 'specific' to qualify for the theoretical realm of 'feminist theory' and as too 'inclusive' in their concern for nation and race that they presumably 'lose sight' of feminism." Notable films include Sarah Maldoror's Sambizanga (Mozambique, 1972) which takes place in Angola where a woman awakens to "revolutionary consciousness" to the struggle of the ruling party the MPLA. In Heiny Srour's documentary Saat al Tahrir (The Hour of Liberation Has Arrived) (Oman, 1973) followed women fighters during the revolution in Oman. Srour's 1984 film Leila wal dhiab (Leila and the Wolves) (Lebanon) followed the role of women in the Palestine Liberation Movement. Helena Solberg Ladd's From the Ashes: Nicaragua Today (U. S. 1982) documents the role of women in the Sandinista revolution. Sara Gómez's De cierta manera (One Way or Another) epitomizes Third Cinema's involvement in the intersection of fiction and documentary as it gives a feminist critique of the Cuban revolution.

The aesthetic of Third Cinema is influenced by its low budget and amateur film makers, leading to a style of film not reliant on special effects and action set pieces, but rather on real life events and subtle stories. This deviation from the traditional Western film structure can be seen today reflected in both documentary and feature films. In the age of digital filmmaking, it has become easier than ever to produce a film without technical training or access to expensive equipment. Some notable examples of this are guerilla documentaries. Robert Greenwald's films released through grass roots organizations, Uncovered: The Whole Truth About the Iraq War and Outfoxed: Rupert Murdoch's War on Journalism, were shot in historical Hollywood places where movies like Gone with the Wind were originally filmed. Outfoxed was one of his secretive films about the distortion of information by Fox News (Boynton, 2004). Sean Baker, an American filmmaker who shot an entire movie on an iPhone 5S, created the most talked about iPhone film called Tangerine. Following two Los Angeles prostitutes around the glowing city, viewers are reminded how he tends to cast unlikely protagonists. Other artists in the industry are creating films with iPads, digital cameras, and creating motion with bicycles, all hinging on the low budget, surprise delivering spirit of the Third Cinema (Murphey, 2015). Third Cinema continues to inspire and challenge modern and current artists and filmmakers. The ripples of this movement can still be seen in both overall aesthetic and in its ability to challenge political ideals and standards as well as what is "typical" in the movie industry. This influence of modern works has been appreciated all over the world. Experts agree that Solanas and Getino urged for "Third Cinema can and should emerge from everywhere" (Saljoughi, 2016). The purposeful activism sparked by Third Cinema was not defined to play catch up to wealthier filmmakers, but to spark innovative creation in third world populations. Marked by risk taking and storytelling, the genre is not secretive in its aims (Sarkar, n. d.).

Third Cinema attempted to unite Third World populations experiencing oppression, focusing on Central America, Africa and Asia (Ivo, 2018). The motivation of these films was to inspire these populations to revolution against the controlling regimes. Third Cinema established a departure from both the norms of commercial Hollywood films, as well as the Second Cinema movement of European art films. Rather than create dramatic storylines, these artists strove to show the drama of everyday life while promoting critical thinking (Gonon, n. d.). This rejection of traditional film democratized the industry and opened the possibility for smaller scale stories to be told (Wayne, 2019). Solanas and Getino actually wrote the main part of their manifesto in dictator controlled Argentina. When Solanas was exiled in Paris, he gave the Third Cinema a more broadened definition, adding the importance of the "conception of the world" (Stollery, 2002). While many a filmmaker have deemed the movement antiquated and not of progressive value, experts re envision the Third Cinema as an object of analysis (Dixon & Zonn, 2005). More recently, the military repression of Cuba in the 1970's slowed this creative filmmaking on the island. The Edinburgh Film Festival held a conference on Third Cinema in 1986, marking a resurgence of the genre. The result of this conference was the publication of Questions of Third Cinema by many authors, which failed to include contributors from Latin America and even Solanas and Getino themselves. Third Cinema is then discussed as encompassing most Latin American films and all films that have political charge and meaning.