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History/Military Троя и троянцы. Боги и герои города-призрака
History/Military The Collapse Of The Democratic Presidential Majority: Realignment, Dealignment, And Electoral Change From Franklin Roosevelt To Bill Clinton (Transforming American Politics)
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History/Military Battle in the Baltics 1944-45: The Fighting for Latvia, Lithuania and Estonia, a Photographic History
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History/Military Globalization of Capital and the Nation-State: Imperialism, Class Struggle, and the State in the Age of Global Capitalism
History/Military Performances of the Sacred in Late Medieval and Early Modern England (Repost)
History/Military Demography and Roman Society (Ancient Society and History)
History/Military Reducing Poverty Through Growth And Social Policy Reform in Russia (Directions in Development)
History/Military Screening Politics; The Politician in American Movies, 1931-2001
History/Military Between Self-Determination and Dependency: Jamaica's Foreign Relations 1972-1989
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History/Military Anglo-Norman Studies 24: Proceedings of the Battle Conference 2001

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History/Military Political Film: The Dialectics of Third Cinema

Posted on 2010-04-01




Name:History/Military Political Film: The Dialectics of Third Cinema
ASIN/ISBN:0745316697
Language:English
File size:10.4 Mb
Publisher: Pluto Press
Publish Date: 2001
ISBN: 0745316697
File Type: PDF
Pages: 170 pages
File Size: 10.4 MB
   History/Military Political Film: The Dialectics of Third Cinema

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Mike Wayne, "Political Film: The Dialectics of Third Cinema"

Third cinema--cinema committed to social and cultural emancipation--is absolutely central to key debates concerning contemporary film practices and cultures. In this volume, Mike 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, Wayne explores the affinities and crucial difference between First and Third Cinema. Third Cinema's relationship to Second Cinema is explored via the cinematic figure of the Bandot. The continuities and differences with European precursors such as Einstein, 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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