The following essay presents the analysis of the movies produced by Latin America and Africa. Furthermore, it is common knowledge that both the Genres portray the Third World Cinema and are quite remarkable in their own spirit. …
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The cinema in the 1950s represented the true spirit of Africans; it was at the same time that the West believed that Africa was a country with no history. Most of their histories were locked up in small museums in the Western World itself. Something of the same kind is going on today in countries like India, Iran and Iraq. The cinema that emerged in Africa was not just movies made out of passion but was culturally a strong factor to bring the entire history of Africa under one roof.in fact, Frantz Fanon’s work, On National Consciousness, includes the work a poem called ‘African Dawn’, that was later made into a film called ‘Camp D’Thiarove’, by Ousmane Sembe`ne. Then came ‘The Battle of Algiers’, which was made in 1965 which was a highly influential movie by an Italian Director, Gillo Pontecorvo, This was basically a movie about the Algerians who fought against the French in the attempt to break away from the Colonial Yolk in the 1950’s to 1962. African Movies were at the time influenced by both Colonialism and Neo-Colonialism since almost all art forms including Poetry, Paintings, Art Works and Songs were influenced by the indigenous culture. For once, art was influenced by the nationalistic spirit and it real function instead of mere western aesthetics. The cinema in Africa was known to be ‘militant fighting cinema’, and worked in opposing the dominant imperialistic rule. The Cinema in Africa represents largely the definition of ‘Towards Third Cinema’, they represent their distinct style and form in almost all their works. It is quite a cinema of opposition as counterpoised to the lavish cinema of the First World. As mentioned earlier, the Third World Cinema has thus earned the name ‘An Imperfect Cinema’ (Roy Ames, 1987). Among the Latin American film makers, Fernando Solanas and Octavio Getino; both Argentinean film-makers, were the key authors of creating the manifesto of ‘Towards a Third Cinema’ with their Cinema Liberacio`n movement.with time the growth of the manifesto was incredible. The talented duo then went on to make a three part, four hours documentary called, ‘'La Hora de los Hornos' [Hour of the Furnaces]. A lot of films got into severe censorship issues since Argentina was under the military dictatorship (M. T. Martin, 1997). This film exhibited major politico activities which exhibited many militant work that dominated the Latin American Scene. The manifesto majorly saw certain anti-colonial struggles of the third world people. These ideas were heavily borrowed by thinkers such as Marx, Fanon and Mao and were all connected to the populist leader of Argentina, General Per`on (Martin M. T. 1997). Moving back to the Cinema’s of Africa, the threads are quite similar to that of
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The concept of presenting specific ideals and expressions is at the root of film and cinema. Beyond the need to provide levels of entertainment to those who are spectators to cinema, is also the need to create philosophies and statements that relate to society and culture.
Both of the Dardennes and Haneke have created several sensational films widely acclaimed all over the world, especially in Europe. Maybe the filmmakers whose works are to be scrutinized in this paper do not make cinema with widespread commercial appeal. However, the artistic value and appeal are unquestionable.
At the time of its inception “Third Cinema” was used to voice the dissent of the protestors in the third world countries which were ruled by the colonial powers. Gradually, this genre of films has come to represent a number of social issues facing the developing economies.
They are both non-fiction narratives of real situations or events that fundamentally reflect visual realism of events as they had occurred. While the basic motive of documentary and cinema verite is the same, they differ diametrically in the exposition of truth and mechanism of creation or development of the same.
The arguments and development of the movie is hinged on strong psychoanalytical and philosophical theories that will obviously convince one to change the way they construe seeing. This is exactly what happens with the inception movie, Leonardo is able to extract the useful information from people in their dream, and this action makes one to review their understanding of what they know about informational storage in the brain and sleep.
World Cinema like Hollywood cinema is gaining more recognition from the last two decades. University of Leeds (2005) defines world cinema as a terminology for English language films that is not from any English language countries, or simply "non-Hollywood" cinema. Along with its international recognition also comes the depth of the understanding of one country's status.
Film making in Hollywood, almost always, was more a commercial enterprise than an creative artistic ambition, in spite of the presence of such great creative stalwarts of cinema like D. W. Griffith, Charles Chaplin, Orson Wells, Robert Flaherty etc. It was the
impacted filmmaking for African cinema which has yet to find definite shape and exact identity due to the extensiveness of subjects African films have since dealt with in reference to a range of possible encounters with Africa’s rich culture, religion, literature, music, and
No matter what the medium or the genre of Film Art; people almost always relate something to the content of the film. But what the general public doesn’t realize is the fact that there is so much that goes into the making of a film. People only see the end result which is merely the projection, the essence of a mammoth work.
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