"Roots of Third Cinema" and other Michael Chanan films and videos online

Roots of Third Cinema from Michael Chanan on Vimeo 
(made available for teaching and private viewing only)

As regular readers of this blog will know, Film Studies For Free is a fervent admirer of the work of filmmaker and academic writer Michael Chanan, Professor of Film at Roehampton University. Chanan has been making his work accessible online for a long time now. And now his professional website and his great blog Putney Debater have been joined by a Vimeo account where he is gradually archiving some marvellous audiovisual work from an impressive back catalogue.

FSFF has embedded one of its favourite items above, Roots of Third Cinema which has been extracted and re-edited from Chanan's enormously important and influential documentary New Cinema of Latin America (Channel Four, 1983). This is an incredibly rich and useful scholarly resource, FSFF is sure you will agree.

Written, produced, and directed by Chanan with photography by Peter Chappell, part I of New Cinema of Latin America traced the origins and development of the new cinema movement in the countries of Latin America from the early 1950s to the present and examines its political and social themes. In part II the political and cultural dimensions of the new cinema since the 1960s were explored in greater detail. The film examined the new cinema's political concerns, its desire to give expression to the traditional cultures, national identities, and everyday experiences of Latin Americans, and the growing prominence of feminist cinema. Both parts included commentary by directors and others active in the new cinema movement and excerpts from numerous films.

[FSFF has devoted a number of previous entries to online and openly accessible resources on Third Cinema in the past. See especially this bumper post.]

On Popular Memory and Third Cinema: the work of Teshome Gabriel

 

Image from Xala (Ousmane Sembène, 1975). Read Teshome H. Gabriel's classic essay on this film: 'Xala: A cinema of wax and gold', from Jump Cut, no. 27, July 1982, pp. 31-3

In 1974, Teshome Gabriel, who was at the time a [UCLA] Ph.D. student but who would later be widely credited with introducing Third Cinema theory to Euro-American film scholars with the publication of his 1982 dissertation, Third Cinema in the Third World: The Aesthetic of Liberation, organized a weekly Third World Film Club. Through 1976, the club screened the work of radical filmmakers mostly from Latin American and Africa including Miguel Littín (Chile), Jorge Sanjinés (Bolivia), Solanas and Getino (Argentina), and Ousmane Sembene (Senegal). The Los Angeles School was especially influenced by the classics of Cuban and Brazilian cinema including Memories of Underdevelopment (Tomas Gutierrez Alea, 1968), Lucía (Humberto Solás, 1968), The Last Supper (Gutierrez Alea, 1976), and the work of Nelson Pereira dos Santos (Brazil) and Glauber Rocha (Brazil), who, invited by Gabriel, visited UCLA in 1978.

 [Footnote 15: Teshome Gabriel’s importance should not be underestimated. In a recent assessment of Third Cinema, Anthony Guneratne refers to the appearance of Gabriel’s book as a “watershed,” “the first work in English to undertake a comprehensive exposition of Third Cinema theory in relation to the social and political situations it addressed.” See Guneratne and Dissanayake, Rethinking Third Cinema].

Salomé Aguilera Skvirsky, The Ethnic Turn: Studies in Political Cinema from Brazil and the United States, 1960-2002, 2009, p. 150 (hyperlinks added by FSFF)

Official history tends to arrest the future by means of the past. Historians privilege the written word of the text - it serves as their rule of law. It claims a "center" which continuously marginalizes others. In this way its ideology inhibits people from constructing their own history or histories.
     Popular memory, on the other hand, considers the past as a political issue. It orders the past not only as a reference point but also as a theme of struggle. For popular memory, there are  no longer any "centers" or "margins," since the very designations imply that something has been conveniently left out.
     Popular memory, then, is neither a retreat to some great tradition nor a flight to some imagined "ivory tower," neither a self-indulgent escapism, nor a desire for the actual "experience" or "content" of the past for its own sake. Rather, it is a "look back to the future," necessarily dissident and partisan, wedded to constant change.

Teshome H. Gabriel, “Third Cinema as Guardian of Popular Memory: Towards a Third Aesthetics.” Questions of Third Cinema. Ed. Jim Pines and Paul Willemen. London: British Film Institute, 1989. 53-64

A study of style alone will not engender meaning ... Style is only meaningful in the context of its use - in how it acts on culture and helps to illuminate the ideology within.

Teshome Gabriel, Third Cinema in the Third World: An Aesthetic of Liberation (Ann Arbor: UMI Research Press, 1982) p. 41 

[T]he principle characteristic of Third Cinema is really not so much where it is made, or even who makes it, but, rather, the ideology it espouses and the consciousness it displays. In one word we might not be far from the truth when we claim the Third Cinema (as) the cinema of the Third World which stands opposed to imperialism and class oppression in all their ramifications and manifestations.

Teshome Gabriel, Third Cinema in the Third World: An Aesthetic of Liberation (Ann Arbor: UMI Research Press, 1982) p. 2

Film Studies For Free was very sad to report in a post yesterday that Teshome Gabriel, one of the activist founders of the critical discourses and practices of Third Cinema and popular memory, and a much loved and respected film professor at one of the finest film schools in the world, had passed away. FSFF has devoted a number of entries to online and openly accessible resources on Third Cinema in the past. Today's tribute post focuses on links to online and free to access works either by Professor Gabriel or ones which have been heavily informed by his work.

By Teshome Gabriel:

• Teshome H. Gabriel, 'Xala: A cinema of wax and gold', from Jump Cut, no. 27, July 1982, pp. 31-3
• Teshome H. Gabriel, “Third Cinema as Guardian of Popular Memory: Towards a Third Aesthetics.” Questions of Third Cinema. Ed. Jim Pines and Paul Willemen. London: British Film Institute, 1989. 53-64

Informed by the work of Teshome Gabriel:

• Salomé Aguilera Skvirsky, The Ethnic Turn: Studies in Political Cinema from Brazil and the United States, 1960-2002, 2009
• Homi K. Bhabha, 'The Commitment to Theory', New Formations, No. 5, Summer 1988
• Mbye Cham, 'Official History, Popular Memory: Reconfiguration of the African Past in the Films of Ousmane Sembene', Contributions in Black Studies, Vol. 11 [1993]
• Michael Chanan, 'The Changing Geography of Third Cinema', Screen Special Latin American Issue, Volume 38, number 4, Winter 1997)
• Catherine Grant, 'Studies of 'Third Cinema' and anti-Eurocentric film culture', Film Studies For Free, August 10, 2009 
• Teresa Hoefert de Turegano, 'On Questions and Critical Methodology of African Cinemas:Ukadike's Questioning African Cinema', Film-Philosophy, Vol. 8 No. 13, April 2004
• Nicola Marzano, 'The Art of Hunger: re-defining Third Cinema', 16:9, November 2009 - 7. årgang - nummer 34
• Nicola Marzano, 'Third Cinema Today', Offscreen Journal, Vol. 13, Issue 6, 2009
• LaShonda Naté Long, 'Evoking the Kuxa Kenema: Reconstructing History and Memory through Cinema Novo in Mozambican Cinema', Powerlines, 2002
• Carrie Peplinski, 'Oral Traditions and Weapons of Resistance: The Modern Africa Filmmaker as Griot', Culture, Communication and Media Studies, (date unknown) 
• Antonio Sison, 'Perfumed Nightmare and Negative Experiences of Contrast: Third Cinema as Filmic Interpretation of Schillebeeck', Journal of Religion and Film, Vol. 6, No. 1, April 2002
• Robert Stam, 'Hybridity and the Aesthetics of Garbarge', E.A.I.L, Vol. 9, No. 1, 1998
• Tia Wong, 'Eyeing Resistance: Alanis Obomsawin’s Third Cinema/Gaze/World', Cinephile, Vol. 5, No. 1, 2006
• Jonathan Wright, 'Re-remembering History in Contemporary Film', Film-Philosophy, 10.1, 2006
  

Other Useful Resources: 

• H-AfrLitCine [an H-Net Network discussing African Literature and Cinema] 
• UC Berkeley Library African Cinema Bibliography 
• BFI African Cinema Bibliography 
• UStanford Guide to African Films Movies and Video on the Internet

R.I.P. Peter Brunette and Teshome Gabriel: online tributes

Last updated June 24, 2010

Teshome Gabriel, 1939-2010

Peter Brunette, 1943-2010

Film Studies has lost two of its giants.

On Monday, Professor Teshome Gabriel of UCLA, a leading theorist and scholar of African, Third and Third World Cinema, and memory and cinema, passed away in Los Angeles.

And, just yesterday, Peter Brunette, Reynolds Professor of Film Studies at Wake Forest University, author of important books on film theory, Italian cinema and the work of individual film directors, and a very well-known and popular film critic, died while in attendance at the Taormina Film Festival in Italy.

Film Studies For free will post full, individual, tributes of its own to each of these scholars very shortly, but in the meantime is gathering together, below, a list of links to some of the online tributes to both men. If you know of any you would like to see included, please email FSFF, or link to them in the comments section of this post.

The author of this blog would like to pass on her sincere condolences to the families and friends of both men.

Tributes to Teshome Gabriel

• UCLA obituary
•  Ethiopian Review obituary   
• Friend, Master Storyteller, Scholar, and Humanist Par Excellence: Reminiscences of Teshome H. Gabriel, June 16, 2010 by Vinay Lal 
• Teshome H. Gabriel dies at 70; UCLA professor and Third World cinema expert, by Dennis McLellan LA Times, June 17, 2010

Tributes to Peter Brunette

• Gerald Peary, 'Peter Brunette, In Memory', Indiewire.com, June 21, 2010
• Wake Forest University obituary
• The Hollywood Reporter report and obituary  
• Writer Peter Brunette Dies at Italian Festival by Eugene Hernandez, Indiewire, June 16, 2010
  
• Film Scholar Brunette Dies at Taormina by Anne Thompson, Thompson on Hollywood, June 16, 2010
• Peter Brunette by Glenn Kenny, Some Came Running, June 16, 2010
• R.I.P. Peter Brunette, by Joe Leydon, MovingPictureBlog, June 16, 2010
• RIP Peter Brunette, by Movie Cricket, Salt Lake Tribune, June 16, 2010
• Film critic Brunette dies by Rachel Abrams, Variety.com, June 16, 2010
• Nick James, 'Peter Brunette, 1944-2010', Sight and Sound, June 17, 2010 
• Issa Clubb, 'Remembering Peter Brunette', The Criterion Collection, June 23, 2010
• Peter Keough, 'Peter Brunette 1944-2010', Outside the Frame, The Boston Phoenix, June 22, 2010

"Making films anyhow": On Glauber Rocha's DIY cinema

Terra em Transe/Entranced Earth (Glauber Rocha, 1967)

Glauber said more: "We are going to make our films anyhow: with handheld cameras, in 16mm if there is no 35mm, improvising in the street to get people's true gestures"; "..a cinema on the basis of whatever means are possible, at low cost and in a short time"; "..a political cinema that intends to inform not by logic, but by poetics."

Making films anyhow. Not making films anyhow. In fact, filming with a hand-held camera revealing its nervous presence in the scene more than the scene itself properly speaking, was not a way of simplifying and impoverishing cinematographic writing, but a creative intervention to make it more complex and rich. Glauber's Earth Entranced (Terra em Transe, 1967) is a good example, the scene improvised, not because it had not been thought through properly beforehand in the screenplay, but because it continued being thought through there in the shooting; the image tremulous; not because of any failure or lack of skill on the part of the photographer, but because at that time reality was being discussed like that in speech, nervous and tremulous.

In fact, this cinema, with an idea in its head and a camera in its hand, enriched the speech of itself. It helped people think of screenplays as a challenge to shooting, of shooting as a response to the challenge of the screenplay, of the camera as a challenge to the eye. It helped people think of cinema as an expression finished, on the screen and, at the same time, unfinished, just in the imagination, part of a process that does not end with the film on the screen; it helped people think of film as a work print, a not yet finished print for the spectator to clean up and bring order to; cinema as an inventor and stimulator of images.

José Carlos Avellar, 'Writing the Speech', FIPRESCI, 2006

The links list offered up today is Film Studies For Free's customary tribute to Glauber Rocha, a political and aesthetic leader of the Cinema Novo movement which emerged in Brazil in the late 1950s and early 1960s.

Known above all for the trio of films Deus e o diabo na terra do sol (Black God, White Devil, 1964), Terra em transe (Earth Entranced/Land in Anguish, 1967), and O dragão da maldade contra o santo guerreiro (Antonio das Mortes, 1969), the latter about a legendary gunman hired to kill a group of rebelling peasants, Glauber Rocha's work -- made according to his DIY dictum 'An idea in your head and a camera in hand...' -- has been an inspiration for much cinema in Brazil and elsewhere.

This post is also intended to support and publicise a (for charity) screening of Glauber Rocha's Terra em Transe in London by Latin America House/CasaLatina.org on April 8. Do please go along if you can, and find out more about about this important filmmaker's work and about Brazilian cinema, politics and culture more generally.

• Glauber Rocha, 'Aesthetic of Hunger'

• Tempo Glauber comprehensive website in Portuguese, Spanish, English and French

• José Carlos Avellar, 'Writing the Speech', FIPRESCI, 2006

• Scott L. Baugh, 'Manifesting La Historia: Systems of 'Development' and the New Latin American Cinema Manifesto', Film and History: An Interdisciplinary Journal of Film and Television Studies 34.1 (2004) 56-65

• Graham Bruce, 'Music in Glauber Rocha's films', from Jump Cut, no. 22, May 1980, pp. 15-18

• Julianne Burton, '"The Camera As "Gun": Two Decades of Culture and Resistance in Latin America', Latin American Perspectives, Vol. 5, No. 1, Culture in the Age of Mass Media. (Winter, 1978), pp. 49-76

• Julianne Burton , 'The old and the new: Latin American cinema at the (last?) Pesaro Festival', from Jump Cut, no. 9, 1975, pp. 33-35

• Julianne Burton, Randal Johnson and Robert Stam, 'Brazilian cinema update: Annotated filmography', from Jump Cut, no. 22, May 1980, pp. 22-24

• João Cezar de Castro Rocha, 'Brazil as Exposition', Ciberletras, No. 08, December 2002

• Michael Chanan, New Cinemas in Latin America (1960-1995)', from The Oxford History of World Cinema, ed. Geoffrey Nowell-Smith, OUP, 1996

• Michael Chanan, 'The Changing Geography of Third Cinema', Screen Special Latin American Issue, Volume 38, number 4, Winter 1997)

• Carlos Diegues, 'A Dream that came true', FIPRESCI, 2006 

• Julio Diniz, 'Brazil and issues of cultural and national identity in Latin America', Diálogos Latinoamericanos, No. 2, 2002

• Jack Draper, 'Brazilian Popular Culture as Process and Product: Politicizing the Popular in Música Popular Brasileira, 1950-2003',  “Latin American Music and Dance” Panel, Latin American Studies Association Conference, March 28, 2003

• Michèle Faguet, 'Pornomiseria: Or How Not to Make a Documentary Film', Afterall, Issue 21, Summer 2009

• Catherine Grant, 'Studies of 'Third Cinema' and anti-Eurocentric film culture', Film Studies For Free,August 10, 2009
  

• Simon Hartog, 'There's Nothing More International Than a Pack of Pimps: A [1970] Conversation between Pierre Clémenti, Miklos Janscó, Glauber Rocha, and Jean-Marie Straub', first published in Cinematics, No. 4, Rouge, 3, 2004

• Randal Johnson, The film industry in Brazil: culture and the state (Pittsburgh: University of Pittsburgh Press, c1987)

• Gabe Klinger, 'Glauber Rocha', Senses of Cinema, January 2005

• Michael Korfmann, 'On Brazilian Cinema: From Mário Peixoto’s Limite to Walter Salles', Senses of Cinema, Issue 40, 2006

• Gabriela Martínez, 'Cinema law in Latin America: Brazil, Peru and Colombia', Jump Cut, No. 50, spring 2008

• Nicola Marzano, 'The Art of Hunger: re-defining Third Cinema', 16:9, November 2009

• Lúcia Nagib, 'Reframing Utopia: Contemporary Brazilian Cinema at the turn of the century', Vol. 0, Winter2006

• Emanuelle K F Oliveira, 'An ethic of the esthetic: racial representation in Brazilian cinema today', Vanderbilt e-Journal of Luso-Hispanic Studies, Vol. 4, 2008 

• Hans Proppe and Susan Tarr, 'Pitfalls of cultural nationalism in cinema novo', from Jump Cut, no. 10, 1976, pp. 45-48

• Peter Rist, 'A Brief Introduction to Brazilian Cinema', Offscreen Journal, Volume 9, Issue 6 (June 30, 2005)

• Robert Stam and Randal Johnson, 'Brazil renaissance, introduction Beyond Cinema Novo', from Jump Cut, no. 21, Nov. 1979, pp. 13-18 (Part 2)

• Robert Stam , 'Land in Anguish: Revolutionary lessons', from Jump Cut, no. 10-11, 1976, pp. 49-51

• Robert Stam, 'Censorship in Brazil', from Jump Cut, no. 21, Nov. 1979, p. 20

• Robert Stam, 'Hybridity and the Aesthetics of Garbarge', E.A.I.L, Vol. 9, No. 1, 1998 

• Robert Stam, 'Blacks in Brazilian Cinema: A Comparative Methodology', Critical Arts, Vol. 2, No. 4, 1983

Obstinate Battles for Documentary Memory: Patricio Guzmán Resources Online

Regular readers will know, hopefully, that Film Studies For Free issues forth only on the topics that take its fancy. It receives no commercial or other patronage, and it does not respond to 'prompts' for its hypertextual-utterances: nor does it want any! It loves and supports free online culture, and it prefers to make its own reading, viewing and blogging choices. Sometimes, though, it does get independently inspired by commercially-available film releases or new offline publications of a very worthwhile kind, as was the case today. And the result is a little bit of unsolicited free advertising...

FSFF was so HAPPY to hear that Chilean documentarist Patricio Guzmán's films The Battle of Chile (1975-1978), The Pinochet Case (2001) and a particular personal favourite, Chile, Obstinate Memory (1997 - see the opening sequences above) have been released on a new DVD by a great and longstanding supporter of Latin American film culture -- Icarus Films -- that it decided to mark this very auspicious occasion with a related scholarly links-list in honour, and warm appreciation, of Guzmán's hugely important films.

• Articles on Guzmán's website:

• MOVIES THAT MARKED ME FOREVER
• When I was about eight or nine years old (I really don’t remember exactly)...
• THE DOCUMENTARY EXPLOSION
• THE LOST IMAGES
• PIECES OF LIFE
• STAINS ON THE NEGATIVE
• OBLIVION AS A CENTRAL THEME
• THE CHILEAN DOCUMENTARY, A PANORAMIC LOOK

• Pat Aufderheide, 'Interview with Patricio Guzmán', Center for Social Media, Oct. 25, 2002

• Pamela Biénzobas, 'Patricio Guzmán's Salvador Allende: The Personal Painting of a Universal Myth', Senses of Cinema, Issue 34, January 2005

• Katherine Bliss, 'Review of Chile, Obstinate Memory/Battle of Chile', The Public Historian, Vol. 21, No. 1, Winter 1999

• Judy Branfman, 'Poking in the wound or reclaiming history? Documentary Films as Gendered Historical Memory in Post-Dictatorship Chile and Spain', CSW Update, October 2007
  

• Michael Chanan, 'The Changing Geography of Third Cinema, originally published in Screen Special Latin American Issue (edited by Catherine Grant and Jackie Stacey), Volume 38 number 4 Winter 1997

• Michael Chanan, 'The economic condition of cinema in Latin America ', Third World Affairs 1985, London: Third World Foundation, pp.379-389

• Michael Chanan, 'Latin American Cinema in the 90s. Representational Space in Recent Latin American Cinema', E.I.A.L. ESTUDIOS INTERDISCIPLINARIOS DE AMERICA LATINA Y EL CARIBE, Vol. 9, No. 1, enero-junio 1998 (Cultura visual en América Latina, Editor invitado: John Mraz)

• Michael Chanan, New Cinemas in Latin America (1960-1995), from The Oxford History of World Cinema, ed. Geoffrey Nowell-Smith, OUP, 1996

• Hugo Chaparro Valderrama, 'Patricio Guzmán according to Jorge Ruffinelli', El ojo que piensa, 2002
  

• First Run/Icarus Films Presskit for THE BATTLE OF CHILE (1975-1978), CHILE, OBSTINATE MEMORY (1997), THE PINOCHET CASE (2001), Films by Patricio Guzmán
  

• First Run/Icarus Films Presskit for SALVADOR ALLENDE (2004), Film by Patricio Guzmán

• Jim Hillier, 'The Battle of Chile/La batalla de Chile, Patricio Guzmán, 1975–9', 100 Documentary Films (London: BFI/Palgrave, BFI Film Guides, 2009 (scroll down to Ch. 14))
  

• Sarah Kessler, 'An Imperfect Cinema', The Brooklyn Rail, September 2009
  

• Nicola Marzano, 'Third Cinema Today', Offscreen Journal, Vol. 13, Issue 6, 2009
  

• Nicola Marzano, 'The Art of Hunger: re-defining Third Cinema', 16:9, November 2009 - 7. årgang - nummer 34

• Zuzana M. Pick, 'Chilean cinema: ten years of exile (1973-83)', from Jump Cut, no. 32, April 1987, pp. 66-70
  

• Margaret Power, 'Chile, Obstinate Memory', H-LatAm, H-Net Reviews. September, 1998
  

• Margaret Power, 'The Battle of Chile', H-LatAm, H-Net Reviews. August, 1998
  

• Juan Carlos Rodríguez, The Postdictatorial Documentaries of Patricio Guzmán: Chile, Obstinate Memory, The Pinochet Case, and Island of Robinson Crusoe, PhD Thesis, Duke University 2007
  

• Antonio Traverso, 'Unsettled Screens: The Cinema of Latin America', Film-Philosophy, Vol. 9 No. 12, March 2005
  

• And a very special bonus for French or Spanish speakers: … à Valparaiso (1963 France/Chile 29 mins, directed by Joris Ivens, with a script by Chris Marker and assistance from Patricio Guzmán). See Adrian Danks' Senses of Cinema article on this film here.

Peruvian Cinema (in the age of transnational film finance)

Image of Fausta/Magaly Solier, in La teta asustada/The Milk of Sorrow (Claudia Llosa, Spain/Peru, 2009) - see a review of this film here

Film Studies For Free's author attended a very stimulating seminar yesterday given by Sarah Barrow of Anglia Ruskin University, entitled 'Transnational Film Financing in the Hispanic World: A Peruvian Case Study'.

Barrow presented a fascinating overview of Peruvian cinema in the last five years, and, in particular, of the efforts made by an emerging set of filmmakers to take advantage of new international funding and support opportunities. These include the regional Ibermedia programme, Rotterdam Film Festival’s Hubert Bals project, the Berlin World Cinema Fund (WCF), and the Cannes screenwriting residency awards for developing writer-director talent from developing economies. Barrow focused on the career trajectories of two Peruvian writer-directors: Josué Méndez (Días de Santiago [2004]; Dioses [2008]) and Claudia Llosa (Madeinusa [2006]; La teta asustada/The Milk of Sorrow [2009], Winner of the Golden Bear Award at the Berlinale 2009 and 2009 Foreign-Language Oscar Nominee).

FSFF wanted to follow up on Barrow's valuable seminar with some online resources for researchers working on Peruvian cinema as well as on transnational film finance. Below, then, are some links to high-quality, openly-accessible, scholarly work on these topics, most of them in English. See also FSFF's earlier post on Studies of 'Third Cinema' and anti-Eurocentric film culture

• Buzz Alexander, 'Interview with Pancho Adrienzén: Radical film in Peru today', from Jump Cut, no. 28, April 1983, pp. 27-30

• Sarah Barrow, 'Images of Peru: A National Cinema in Crisis', from Latin American Cinema: Essays on Modernity, Gender and Nationhood. Ed. Stephanie Dennison and Lisa Shaw. Jefferson, NC: McFarland, 2005: 39-58

• Scott L. Baugh & Michael Schoenecke, 'Special Issue Introduction: Historical Reflection/Cinematic Projections of Latin American Film', Film & History, Vol. 34.1 (2004)

• Jon Beasley-Murray, “Subalternity, Betrayal, and Flight: Three Recent Films from Peru”, essay draft (2007). See also Beasley-Murray's blog: Posthegemony

• Michael Chanan, 'The economic condition of cinema in Latin America', from Third World Affairs 1985, London: Third World Foundation, pp.379-389

• Tamara Falicov, 'Programa Ibermedia: Co-Production and the Cultural Politics of Constructing an Ibero-American Audiovisual Space', Spectator, Vol. 27, Issue 2, 2007, Special Issue on Media Co-Productions, 21-30

• Francisco da Gama, 'Filming the war with Sendero', Jump Cut, No. 49, spring 2007

• Gabriela Martínez, 'New Readings of Past and Recent Latin American Cinema', A Contra corriente: A Journal on Social History and Literature in Latin America [Review of Lisa Shaw and Stephanie Dennison (Editors), Latin American Cinema: Essays on Modernity, Gender and National Identity. (Jefferson, NC and London: McFarland, 2005)], Vol. 4, No. 1, Fall 2006, 163-174

• Gabriela Martínez, 'Cinema law in Latin America:Brazil, Peru and Colombia ', Jump Cut: A Review of Contemporary Media, No. 50, spring 2008

• Sophia A. McClennen, 'The theory and practice of the Peruvian Grupo Chaski', from Jump Cut, No. 50, spring 2008

• Jeffrey Middents, Writing National Cinema: Film Journals and Film Culture in Peru (UPNE, 2009: Google Books Limited Preview) Also see Middents' blog
  

• Violeta Núñez, 'PERUVIAN CINEMA : An ongoing battle', Cinema Journal/El ojo que piensa, 2007
  

• Miriam Ross, 'Social Engagement, Empowerment and Change - Grupo Chaski’s Microcines: Engaging the Spectator', eSharp, Issue 11, 2008

• Libia Villazana, [Audio file of soundtrack of] 'Latin America in Co-production' (46 minute long documentary directed by Villazana, UK/Peru 2007, partly in English, partly in Spanish), followed by a panel discussion at the Tate Modern Film Synergies event (November 25, 2007) added Nov 2, 2009

• Libia Villazana, 'De una política cultural a una cultura politizada: La República Bolivariana de Venezuela y su revolución cultural en el sector audiovisual', ZiF: Center for Interdisciplinary Research, 2007 added Nov 2, 2009

• Libia Villazana, 'Hacia un cine peruano de coproducción Entrevista con Francisco “Pancho” Lombardi', Contratexto digital. Año 4, N° 5, 2007
  

Studies of 'Third Cinema' and anti-Eurocentric film culture

Subtitled introduction to the first part of Fernando Solanas and Octavio Getino's 1968 Third Cinema classic La hora de los hornos/The Hour of the Furnaces (made by the Grupo Cine Liberación collecive), 1968 on YouTube. Also see the first part ('Neocolonialismo y violencia'/'Neocolonialism and Violence') in its entirety, without subtitles, HERE.

Two events in particular provoked Film Studies For Free's posting, today, of a webliography of openly accessible, online material about Third Cinema and anti-Eurocentric film culture: the revamping of the website of Michael Chanan, one of the most important anglophone writers on Third Cinema (note the updated page for his online essays and papers and his new blog address); and the publication of a new issue of online film journal Offscreen (volume 13, issue 6), with an article on Third Cinema by Nicola Marzano.

The film-studies links are below, but first, here are links to three essential 'Third Cinema' Manifestos: Julio García Espinosa, 'For an Imperfect Cinema' ; Glauber Rocha, 'Aesthetic of Hunger'; and Fernando Solanas and Octavio Getino, 'Towards a Third Cinema' (Published online courtesy of Revolutionen aus dem Off: EINE RETROSPEKTIVE DES DRITTEN KINOS IM AUFBRUCH, ZEUGHAUSKINO BERLIN, April 18-May 27, 2009)

• William Alexander, 'Jorge Sanjinés and Tomás Gutierrez Alea: Class, film language and popular cinema', from Jump Cut, no. 30, March 1985, pp. 45-48

• Megha Anwer, 'Close Up on the Colony, Inside History, through the Camera Lens', Wide Screen, Vol. 1, No. 1 (2009)

• Patricia Aufderheide, 'Cross-Cultural Film Guide: Films from Africa, Asia and Latin America at The American University', 1992

• Scott L. Baugh, 'Manifesting La Historia: Systems of 'Development' and the New Latin American Cinema Manifesto', Film & History: An Interdisciplinary Journal of Film and Television Studies 34.1 (2004) 56-65
  

• Desmond Bell, 'Shooting the Past? Found Footage Filmmaking and Popular Memory', Kinema, Spring 2004
  

• Chris Berry, 'Chinese left cinema in the 1930s: Poisonous weeds or national treasures', from Jump Cut, no. 34, March, 1989, pp. 87-94
  

• Michael Chanan, 'The Changing Geography of Third Cinema, originally published in Screen Special Latin American Issue (edited by Catherine Grant and Jackie Stacey), Volume 38 number 4 Winter 1997

• Michael Chanan, 'The economic condition of cinema in Latin America ', Third World Affairs 1985, London: Third World Foundation, pp.379-389
  

• Michael Chanan, 'Latin American Cinema in the 90s. Representational Space in Recent Latin American Cinema', E.I.A.L. ESTUDIOS INTERDISCIPLINARIOS DE AMERICA LATINA Y EL CARIBE, Vol. 9, No. 1, enero-junio 1998 (Cultura visual en América Latina, Editor invitado: John Mraz)
  

• Michael Chanan, Cinema in Latin America (1930-1960) and New Cinemas in Latin America (1960-1995)Two chapters on Latin American cinema from The Oxford History of World Cinema, ed. Geoffrey Nowell-Smith, OUP, 1996

• Michael Chanan, 'Screen Memory in Cuban Cinema', [as Word file] International Institute for the Study of Cuba, Guest Seminar, London Metropolitan University, February, 2008

• Michael Chanan, 'Remembering Titón [Tomás Gutiérrez Alea]', from Jump Cut, no. 41, May 1997, pp. 126-129

• Saayan Chattopadyhay, 'Framing Frontiers: The Suspended Step towards Visual Construction of Geopolitical Borders', Sarai Reader 2007: Frontiers
  

• Ngwarsungu Chiwengo, 'Memory, Ideology, and Exile: J. M Kibushi's Mwana Mboka', Reconstruction 8.2 (2008)
  

• Armando Cristóbal, 'Documentary in Cuba: Santiago Alvarez, a Paradigm', cubanow.net, 2007
  

• Ann Cross, 'Contemporary Cuban cinema', The International Journal of Cuban Studies, Issue 1, June 2008

• Manthia Diawara, 'Sub-Saharan African film production: Technological paternalism', from Jump Cut, no. 32, April 1987, pp. 61-65

• Hyginus Ekwuazi, 'Towards the Decolonization of the African Film', Africa Media Review Vol. 5 No. 2.1991
  

• Thomas Elsaesser, "Hyper-, Retro-, or Counter-: European Cinema and Third Cinema Between Hollywood and Art Cinema," J. King, A. Lopez, M. Alvarado (eds.), Mediating Two Worlds: The Americas and Europe 1492-1992 (London: BFI Publishing, 1992) 119-135

• Julio García Espinosa, 'Long journey towards the light', translated by Stephen Hart, The International Journal of Cuban Studies, Issue 1, June 2008 [in Nicola Miller and Stephen Hart (eds) When Was Latin America Modern? Palgrave Macmillan, 2007]
  

• Leonardo García-Pabón, 'The Clandestine Nation: Indigenism and national subjects of Bolivia in the films of Jorge Sanjinés', translated from the Spanish by Maura Furfey, from Jump Cut, no. 44, Fall 2001 (and 2 3 of this essay)

• Michel Gobat, 'The Legacies of Revolutionary Filmmaking in Sandinista Nicaragua [review of Jonathan Buchsbaum, Cinema and the Sandinistas: Filmmaking in Revolutionary Nicaragua, Austin: University of Texas Press, 2003]', A Contra corriente: A Journl on Social istory and Literature in LatinA America, Vol. 3, No. 2, Winter 2005 / Invierno 2005, pp. 156-166
  

• Trevor Griffey, 'Internal Colonies, Third World Revolution, and the Culture of the Left in the 1960s and 1970s [Review of Cynthia Young. Soul Power: Culture, Radicalism, and the Making of a U.S. Third World Left. Durham, NC: Duke University Press, 2006]', HNet ONline, May 2007
  

• Clifford Hilo, 'Negotiating Global/Local Identities: Jia Zhang-ke's The World', Mediascape, Spring 2007
  

• David E James, 'An Impossible Cinema? The Proletarian Avant-Garde in Los Angeles', Filmint., Issue 2, Reprinted from Looking for Los Angeles: Architecture, Film, Photography, and the Urban Landscape, eds. Charles G. Salas and Michael S. Roth, Issues & Debates (Los Angeles: Getty Research Institute, 2001)
  

• Chuck Kleinhans, 'Third world media: introduction', from Jump Cut, no. 32, April 1987, p. 56
  

• Chuck Kleinhans and Manji Pendakur, 'Learning together: Synthesizing economic and cultural analysis in the Marxist study of Third World film and video', from Jump Cut, no. 33, Feb. 1988, pp. 82-90
  

• Samuel Lelièvre, 'Review of Frank N. Ukadike. Questioning African cinema: questioning African filmmakers. Minneapolis, London: University of Minnesota Press, 2002', Screening the Past, December 2004
  

• Julia Lesage, 'The Other Francisco: Creating history', from Jump Cut, no. 30, March 1985, pp. 53-58 and contd. here

• Chris List, 'El Norte: Ideology and immigration', from Jump Cut, no. 34, March, 1989, pp. 27-31

• Laura U. Marks, 'Loving a Disappearing Image', Cinémas : revue d'études cinématographiques / Cinémas: Journal of Film Studies, vol. 8, n° 1-2, 1997, p. 93-
  111
  

• Gabriela Martínez, 'New Readings of Past and Recent Latin American Cinema', A Contra corriente: A Journal on Social History and Literature in Latin America [Review of Lisa Shaw and Stephanie Dennison (Editors), Latin American Cinema: Essays on Modernity, Gender and National Identity. (Jefferson, NC and London: McFarland, 2005)], Vol. 4, No. 1, Fall 2006, 163-174
  

• Nicola Marzano, 'Third Cinema Today', Offscreen Journal, Vol. 13, Issue 6, 2009
  

• Sophia A. McClennen, 'The theory and practice of the Peruvian Grupo Chaski', from Jump Cut, No. 50, spring 2008

• Zinaid Meeran, 'Inch'Allah Dimanche vs. Lila dit Ca: Transnational Feminism Counters the Streamlining of Accented Cinema', Mediascape, Spring 2005

• Mariano Mestman, 'From Algiers to Buenos Aires: The Third World Cinema Committee (1973-1974)', New Cinemas Journal of Contemporary Film, Vol.1, Number 1, London, 2002; p.40-53

• John Mraz, 'Visual style and historical portrayal in Lucía', from Jump Cut , No. 19, 1978
  

• Lúcia Nagib, 'Reframing Utopia? Contemporary Brazilian Cinema at the turn of the century', P: PORTUGUESE CULTURAL STUDIES 0 Winter 2006
  

• LaShonda Naté Long, 'Evoking the Kuxa Kenema[1]: Reconstructing History and Memory through Cinema Novo in Mozambican Cinema', Powerlines, 2002

• James Neil, 'Third Cinema and the World: Some Stations on the Journey', Vertigo, Vol.3 No.9 - Spring / Summer 2008
  

• Onookome Okome, 'Introducing the Special Issue on West African Cinema: Africa at the Movies', Postcolonial Text, Vol 3, No 2 (2007)

• Joseph Palis, 'Of Non-Places and No Man’s Lands', aether: the journal of media geography, Vol. 1, November 2007
  

• Marcus Power,'Post-colonial cinema and the reconfiguration of Moçambicanidade', Lusotoipie 2004 : 261-278
  

• Charles Ramirez Berg, 'Strategies for Latino screenwriters: ¡Ya basta con the Hollywood paradigm!', from Jump Cut, no. 38, June 1993, pp. 96-104
  

• Robert A. Rosenstone, 'History in images/history in words: Reflections on the possibility of really putting history onto film', Screening the Past, April 1999 [First published American historial review 93, no.5 (December 1988): 1173-1185]
  

• Raúl Rubio, 'Political Aesthetics in Contemporary Cuban Filmmaking: Fernando Pérez’s Madagascar and La vida es silbar', Ciberletras, Vol. 13, July 2005

• Michael Sicinski, 'A Fragmented Epistemology: The Films of Abderrahmane Sissako', Cinemascope, Issue 29
  

• Antonio Sison, 'Perfumed Nightmare and Negative Experiences of Contrast: Third Cinema as Filmic Interpretation of Schillebeeck', JOurnal of Religion and Film, Vol. 6 No. 1 April 2002
  

• Antonio D. Sison, ' 3rd World Hero: Rizal and Colonial Clerical Power Through the Lens of Philippine Third Cinema', Senses of Cinema, no. 36, 2005

• Robert Stam, 'Hybridity and the Aesthetics of Garbage: the Case of Brazilian Cinema', E.I.A.L. ESTUDIOS INTERDISCIPLINARIOS DE AMERICA LATINA Y EL CARIBE, Vol. 9, No. 1, enero-junio 1998 (Cultura visual en América Latina, Editor invitado: John Mraz)

• Hito Steyerl, 'Is a Museum a Factory?', e-flux, Journal 7, 06, 2009

• Helga Tawil, 'Coming Into Being and Flowing Into Exile: History and Trends in Palestinian Film-Making', Nebula 2.2, June 2005
  

• Clyde Taylor, 'One struggle, many fronts', from Jump Cut, no. 23, Oct. 1980, pp. 10-11

• Paul Ugor, 'Censorship and the Content of Nigerian Home Video Films', Postcolonial Text, Vol 3, No 1 (2007)
  

• Ravi S. Vasudevan, 'An Imperfect Public Cinema and citizenship in the ‘third world’, Sarai Reader 01: Public Domain, 2001

• Jerry White, 'LOCATION, LOCATION: Fatherlands - On Mahamat-Saleh Haroun, Africa and an evolving political cinema', Vertigo, Vol.3 No.5 - Spring 2007

• Paul Willemen, 'An Introduction to Framework', Framework 42, 1999

• Jing Yin, 'Toward a Confucian Feminism: A Critique of Eurocentric Feminist Discourse', China Media Research, 2(3), 2006