Political Film: The Dialectics of Third Cinema
(eBook)

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Published
Pluto Press, 2001.
Format
eBook
ISBN
9781783716210
Status
Available Online

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Language
English

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Citations

APA Citation, 7th Edition (style guide)

Mike Wayne., & Mike Wayne|AUTHOR. (2001). Political Film: The Dialectics of Third Cinema . Pluto Press.

Chicago / Turabian - Author Date Citation, 17th Edition (style guide)

Mike Wayne and Mike Wayne|AUTHOR. 2001. Political Film: The Dialectics of Third Cinema. Pluto Press.

Chicago / Turabian - Humanities (Notes and Bibliography) Citation, 17th Edition (style guide)

Mike Wayne and Mike Wayne|AUTHOR. Political Film: The Dialectics of Third Cinema Pluto Press, 2001.

MLA Citation, 9th Edition (style guide)

Mike Wayne, and Mike Wayne|AUTHOR. Political Film: The Dialectics of Third Cinema Pluto Press, 2001.

Note! Citations contain only title, author, edition, publisher, and year published. Citations should be used as a guideline and should be double checked for accuracy. Citation formats are based on standards as of August 2021.

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Grouped Work IDff6d56a1-b7fe-365e-056e-e9be94209f59-eng
Full titlepolitical film the dialectics of third cinema
Authorwayne mike
Grouping Categorybook
Last Update2024-04-01 18:04:36PM
Last Indexed2024-04-27 05:19:04AM

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    [synopsis] => Third Cinema is a cinema committed to social and cultural emancipation. In this book, Mike Wayne argues that Third Cinema is absolutely central to key debates concerning contemporary film practices and cultures.





As a body of films, Third Cinema expands our horizons of the medium and its possibilities. Wayne develops Third Cinema theory by exploring its dialectical relations with First Cinema (dominant,commercial) and Second Cinema (arthouse, auteur). Discussing an eclectic range of films, from Evita to Dollar Mambo, The Big Lebowski to The Journey, Amistad to Camp de Thiaroye, Political Film explores the affinities and crucial political differences between First and Third Cinema. 





Third Cinema's relationship with Second Cinema is explored via the cinematic figure of the bandit (Bandit Queen, The General, Eskiya). The continuities and differences with European precursors such as Eisenstein, Vertov, Lukacs, Brecht and Walter Benjamin are also assessed. The book is a polemical call for a film criticism that is politically engaged with the life of the masses.
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