More, perhaps, than in other regions of the world, culture in Latin America inhabits a politicized zone, for Latin American artists and intellectuals acknowledge how profoundly history and politics inflect creativity….Those Latin American artists and intellectuals who, in their commitment to transform society, have turned to film as the most promising instrument have also become [...]
The final segment from the first part of Solanas and Getino’s 1968 Third Cinema classic. This legendary underground film criticized neo-colonialism and called for the overthrow of the Argentine government. Intended to be a film which “the System finds indigestible,” La Hora was made and distributed outside of the commercial film industry. Because watching the [...]
Mission Statement
The Third World Media Network (TWMN) is an independent, international, non-profit organization of the working journalists from the least developed countries (LDCs). It is dedicated towards increasing the efficiency of reporters, feature writers, editorial staff and other media professionals in the member countries.
The TWMN also acts as a watchdog of press freedom across the [...]
Founded by Carl Jensen in 1976, Project Censored is a media research program working in cooperation with numerous independent media groups in the US. Project Censored’s principle objective is training of SSU students in media research and First Amendment issues and the advocacy for, and protection of, free press rights in the United States. Project [...]
“Decolonization, we know, is a historical process: In other words, it can only be understood, it can only find its significance and become self coherent insofar as we can discern the history-making movement which gives in form and substance. Decolonization is the encounter between two congenitally antagonistic forces that in face owe their singularity to [...]
When resentment of French rule in Algeria grew amongst the part of the population who felt they were treated like a colonized people in comparisson to the settlers of European origin (pieds-noirs) a vicious cycle of violence started between French forces and the pro-independence FLN (National Liberation Front) hitting civilians too. More and more people [...]
The dramatic introduction to the first part of Solanas and Getino’s 1968 Third Cinema classic. This legendary underground film criticized neo-colonialism and called for the overthrow of the Argentine government. Intended to be a film which “the System finds indigestible,” La Hora was made and distributed outside of the commercial film industry. Because watching the [...]
The final segment from the first part of Solanas and Getino’s 1968 Third Cinema classic. This legendary underground film criticized neo-colonialism and called for the overthrow of the Argentine government. Intended to be a film which “the System finds indigestible,” La Hora was made and distributed outside of the commercial film industry. Because watching the [...]
A segment from the first part of Solanas and Getino’s 1968 Third Cinema classic. This legendary underground film criticized neo-colonialism and called for the overthrow of the Argentine government. Intended to be a film which “the System finds indigestible,” La Hora was made and distributed outside of the commercial film industry. Because watching the film [...]
Memories Of Underdevelopment Trailer. This film is coming out on Mr Bongo later this year. Directed by Tomás Gutiérrez Alea
“The culture, including the cinema, of a neocolonized country is just the expression of an overall dependence that generates models and values born from the needs of imperialist expansion.” (Solanas/Gettino p.47)
With the 2008 presidential election, Americans face a pivotal choice between not just two candidates, but two paradigms. We need someone who understands the complexity of our time. Someone who believes in investing in renewable energy, in education, in women’s rights, in civil rights, in healthcare for Americans. Someone who believes in dealing with global [...]
If film makers want to express their world coherently and at the same time respond to the demands their world places on them, they should not go out armed with just a camera and their sensibility but also the solid theoretical criteria. They need to be able to interpret and transmit reality’s image richly [...]
Has entrado en el portal electrónico de sin permiso, un proyecto político de crítica de la cultura, material e intelectual, del capitalismo contrarreformado, desregulado, remundializado y reliberalizado del siglo XXI.
sinpermiso se articulará en torno a una revista semestral del mismo nombre, cuyo primer número en soporte papel aparecerá a principios de 2006. Entretanto, en esta [...]
Our fearless leader will triumph!
Don’t tell me the cult of the presidency doesn’t exist…
Until recently, film has been synonymous with spectacle or entertainment: in a word it was one more consumer good. At best, films succeeded in bearing witness to the decay of bourgeois values and testifying to sociual injusitce. As a rule, films only dealt with effect, never with cause; ot was a cinema of mystification or [...]
Third cinema is, in our opinion, the cinema that recognises in that struggle the most gigantic cultural, scientific, and artistic manifestation of out time, the great possibility of construcitng a liberated personality with each people as the starting point–in a word, the decolinization of culture…Just as they are not masters of the land upon which [...]
Mass communication tend to complete the destruction of a national awareness and of a collective subjectivity on the way to enlightenment, a destruction which begins as soon as the child has access to these media, the education and culture of the ruling classes. 38
Man is accepted only as a passive and consuming object; rather than having his ability to make history recognized, he is only permitted to read history, contemplate it, listen to it, and undergo it. The cinema as a spectacle aimed at a digesting object is the highest point that can be reached in bourgois filmmaking. [...]
The cinema known as documentary, with all the vastness that the concept has today…is perhaps the main basis of revolutionary filmmaking. Every image that documents, bears witness to, refutes, or deepend the truth of a situation is something more than a film image or purely artistic fact; it becomes something which the System finds indigestible. [...]
With the correct utilization of the time that that group of actor-personages offered us with their diverse hsitories, the use of the space offered by certain comrades, and of the films themseles, it was necesarry to try to transform time, energy, and work into freedom-giving energy. In this way the idea began to grow of [...]
Finding ourselves in the midst of a Revolution, and at this particular stage of building socialism, we should be able to establish the premises of a cinema which would be genuinely and integrally revolutionary, active, mobilizing, stimulating, and–consequently–popular. p 110
Popular ought not to respond only to immediate interests (expressed in the need to enjoy oneself, to play, to abandon oneself to the moment, to elude…) but also to basic needs and to the final objective: transforming reality and bettering humankind. Therefore, when I speak about popular film, I am not referring to a cinema [...]
For us, then, the revolution is the highest expression of culture because it will abolish artistic culture as a fragmentary human activity. 78
Imperfect cinema is no longer interested in quality or technique. ..The filmmaker who subscribes to this new poetics should not have personal self-realization as his object. From now on hr should also have another activity. ..Art will not disappear into nothingness; it will disappear into everything. p. 82