Metaphors of space: polarization, dualism and Third World cinema

Screen ◽  
1993 ◽  
Vol 34 (1) ◽  
pp. 38-53 ◽  
Author(s):  
F. Thompson
Keyword(s):  
Third World ◽  
World Cinema ◽  
Space Polarization

O CINEMA DO TERCEIRO MUNDO SOB O OLHAR DA ANTIGEOPOLÍTICA: DITADURA E RESISTÊNCIA NA AMÉRICA LATINA

GEOgraphia ◽  
2018 ◽  
Vol 20 (42) ◽  
pp. 89
Author(s):  
Rejane Cristina de Araujo Rodrigues
Keyword(s):  
Latin America ◽  
Political Geography ◽  
Third World ◽  
Hollywood Film ◽  
The Third ◽  
World Cinema ◽  
America Latina ◽  
The Third World

Resumo: Filmes do Cinema de Hollywood são representativos de um imaginário geopolítico hegemônico. A este imaginário contrapõe-se uma antigeopolítica identificada nas representações de filmes do Cinema do Terceiro Mundo. Partindo de importantes contribuições da geografia política crítica que apontam para articulações entre as representações geopolíticas e os filmes, analisamos três filmes que retratam a América Latina em um dos períodos mais conturbados da sua história. Sua análise nos revela elementos característicos de uma geopolítica de resistência durante as ditaduras civil-militares implantadas no Brasil, no Chile e na Argentina.Palavras-chave: Antigeopolítica. Cinema. América Latina. Ditadura. THE THIRD WORLD CINEMA UNDER THE ANTIGEOPOLITICS VIEW: DICTATORSHIP AND RESISTANCE IN LATIN AMERICAAbstract: Hollywood film movies are representative of a hegemonic geopolitical imaginary. This imaginary contrasts with an antigeopolitics identified in the Third World Cinema representations. Based on important contributions from critical political geography that points to articulations between geopolitical representations and movies, we analyze three cinema productions that portray Latin America in one of the most troubled periods of its history. That analysis reveals elements of a geopolitics of resistance related to the civil-military dictatorships implanted in Brazil, Chile and Argentina.Keywords: Antigeopolitics. Movies. Latin America. Dictatorship. EL CINE DEL TERCER MUNDO BAJO LA VISIÓN ANTIGEOPOLÍTICA: DICTADURA Y RESISTENCIA EN AMÉRICA LATINAResumen: Películas del Cine de Hollywood son representativas de un imaginario geopolítico hegemónico. A este imaginario se contrapone una antigeopolítica identificada en las representaciones de películas del Cine del Tercer Mundo. A partir de importantes contribuciones de la geografía política crítica que apuntan para articulaciones entre las representaciones geopolíticas y las películas, analizamos tres películas que retratan la América Latina en uno de los períodos más revueltos de su historia. Su análisis nos revela elementos característicos de una geopolítica de resistencia durante las dictaduras implantadas en Brasil, en Chile y en Argentina.Palabras clave: Antigeopolítica. Cine. América Latina. Dictadura.

Postmodern Bricolages

2016 ◽  
Author(s):  
Igor Krstić
Keyword(s):  
Third World ◽  
Social Problems ◽  
Cultural Practice ◽  
Architectural Practice ◽  
World Cinema ◽  
Postmodern Thought

This chapter focuses on the 1970s and 1980s and illustrates how some of the most celebrated world cinema directors became profoundly affected by postmodern thought and cultural practice, among them auteurs like Kurosawa, Brocka or Scola, all of whom have approached the slums of their native countries and cities in their films. The author argues that the cultural and architectural practice of bricolage may serve as a key paradigm that subsumes the otherwise quite disparate styles of these directors. Postmodern concepts and aesthetic strategies such as bricolage – and, by extension, intertextuality, intermediality or hybridisation – put the traditional claims of realist and documentary practices in doubt. Instead, postmodern films, like the chapter’s main example Time of the Gypsies (Kusturica 1989), mix what are apparently contradictory notions, such as magic and realism. However, the chapter also discusses other examples of (predominantly ‘Third-Worldist’) filmmakers who have been trying to preserve and recover the historically inherited, but now vehemently questioned (ethical, social and political) concerns of realist and documentary modes to approach their countries’ social problems, but without turning a blind eye towards the new postmodern realities of increasingly consumer-oriented ‘Third World’ cultures.

Third Docufictions

2016 ◽  
Author(s):  
Igor Krstić
Keyword(s):  
Third World ◽  
Film History ◽  
Global Scale ◽  
Film Culture ◽  
The Third ◽  
First Case ◽  
World Cinema ◽  
1960S And 1970S ◽  
The 1960S ◽  
The Third World

This chapter discusses the international film culture of the 1960s and 1970s against the backdrop of the massive urbanisation of what used to be called the ‘Third World’. During these decades not only did world cinema modernise itself in the form of numerous, highly politicised and predominantly leftist, ‘new waves’, but so, too, did many (mega)cities of the global South. The chapter’s first case example, Moi, un noir (Rouch 1958), depicts how rural migrants, full of hopes for and dreams of a better future, flocked to these cities in search of jobs. The intersections between social and film history on a global scale, hence, between the emergence of a politically engaged international film culture and the massive urbanisation of the ‘Third World’, are, as the author argues, not coincidental, and neither is the rise of docufictional forms. Whether theorised as ethnofiction, docudrama, cinéma vérité or Impefect Cinema, these hybrid forms share their historical links with earlier movements (neorealism and the Grierosonian documentary, in particular), as this chapter’s second main example illustrates: De Cierta Manera (Gómez 1974), an essayistic docudrama that investigates the Cuban government’s slum removal policies in a Havana neighbourhood.

Teaching Third World Cinema

Screen ◽  
1983 ◽  
Vol 24 (2) ◽  
pp. 60-65 ◽  
Author(s):  
Teshome H Gabriel
Keyword(s):  
Third World ◽  
World Cinema

O CINEMA DO TERCEIRO MUNDO SOB O OLHAR DA ANTIGEOPOLÍTICA: DITADURA E RESISTÊNCIA NA AMÉRICA LATINA

GEOgraphia ◽  
2018 ◽  
Vol 20 (42) ◽  
pp. 89
Author(s):  
Rejane Cristina de Araujo Rodrigues
Keyword(s):  
Latin America ◽  
Political Geography ◽  
Third World ◽  
Hollywood Film ◽  
The Third ◽  
World Cinema ◽  
America Latina ◽  
The Third World

Resumo: Filmes do Cinema de Hollywood são representativos de um imaginário geopolítico hegemônico. A este imaginário contrapõe-se uma antigeopolítica identificada nas representações de filmes do Cinema do Terceiro Mundo. Partindo de importantes contribuições da geografia política crítica que apontam para articulações entre as representações geopolíticas e os filmes, analisamos três filmes que retratam a América Latina em um dos períodos mais conturbados da sua história. Sua análise nos revela elementos característicos de uma geopolítica de resistência durante as ditaduras civil-militares implantadas no Brasil, no Chile e na Argentina.Palavras-chave: Antigeopolítica. Cinema. América Latina. Ditadura. THE THIRD WORLD CINEMA UNDER THE ANTIGEOPOLITICS VIEW: DICTATORSHIP AND RESISTANCE IN LATIN AMERICAAbstract: Hollywood film movies are representative of a hegemonic geopolitical imaginary. This imaginary contrasts with an antigeopolitics identified in the Third World Cinema representations. Based on important contributions from critical political geography that points to articulations between geopolitical representations and movies, we analyze three cinema productions that portray Latin America in one of the most troubled periods of its history. That analysis reveals elements of a geopolitics of resistance related to the civil-military dictatorships implanted in Brazil, Chile and Argentina.Keywords: Antigeopolitics. Movies. Latin America. Dictatorship. EL CINE DEL TERCER MUNDO BAJO LA VISIÓN ANTIGEOPOLÍTICA: DICTADURA Y RESISTENCIA EN AMÉRICA LATINAResumen: Películas del Cine de Hollywood son representativas de un imaginario geopolítico hegemónico. A este imaginario se contrapone una antigeopolítica identificada en las representaciones de películas del Cine del Tercer Mundo. A partir de importantes contribuciones de la geografía política crítica que apuntan para articulaciones entre las representaciones geopolíticas y las películas, analizamos tres películas que retratan la América Latina en uno de los períodos más revueltos de su historia. Su análisis nos revela elementos característicos de una geopolítica de resistencia durante las dictaduras implantadas en Brasil, en Chile y en Argentina.Palabras clave: Antigeopolítica. Cine. América Latina. Dictadura.

scholarly journals O CINEMA DO TERCEIRO MUNDO SOB O OLHAR DA ANTIGEOPOLÍTICA: DITADURA E RESISTÊNCIA NA AMÉRICA LATINA

GEOgraphia ◽  
2018 ◽  
Vol 20 (42) ◽  
pp. 89
Author(s):  
Rejane Cristina de Araujo Rodrigues
Keyword(s):  
Latin America ◽  
Political Geography ◽  
Third World ◽  
Hollywood Film ◽  
The Third ◽  
World Cinema ◽  
America Latina ◽  
The Third World

Resumo: Filmes do Cinema de Hollywood são representativos de um imaginário geopolítico hegemônico. A este imaginário contrapõe-se uma antigeopolítica identificada nas representações de filmes do Cinema do Terceiro Mundo. Partindo de importantes contribuições da geografia política crítica que apontam para articulações entre as representações geopolíticas e os filmes, analisamos três filmes que retratam a América Latina em um dos períodos mais conturbados da sua história. Sua análise nos revela elementos característicos de uma geopolítica de resistência durante as ditaduras civil-militares implantadas no Brasil, no Chile e na Argentina.Palavras-chave: Antigeopolítica. Cinema. América Latina. Ditadura. THE THIRD WORLD CINEMA UNDER THE ANTIGEOPOLITICS VIEW: DICTATORSHIP AND RESISTANCE IN LATIN AMERICAAbstract: Hollywood film movies are representative of a hegemonic geopolitical imaginary. This imaginary contrasts with an antigeopolitics identified in the Third World Cinema representations. Based on important contributions from critical political geography that points to articulations between geopolitical representations and movies, we analyze three cinema productions that portray Latin America in one of the most troubled periods of its history. That analysis reveals elements of a geopolitics of resistance related to the civil-military dictatorships implanted in Brazil, Chile and Argentina.Keywords: Antigeopolitics. Movies. Latin America. Dictatorship. EL CINE DEL TERCER MUNDO BAJO LA VISIÓN ANTIGEOPOLÍTICA: DICTADURA Y RESISTENCIA EN AMÉRICA LATINAResumen: Películas del Cine de Hollywood son representativas de un imaginario geopolítico hegemónico. A este imaginario se contrapone una antigeopolítica identificada en las representaciones de películas del Cine del Tercer Mundo. A partir de importantes contribuciones de la geografía política crítica que apuntan para articulaciones entre las representaciones geopolíticas y las películas, analizamos tres películas que retratan la América Latina en uno de los períodos más revueltos de su historia. Su análisis nos revela elementos característicos de una geopolítica de resistencia durante las dictaduras implantadas en Brasil, en Chile y en Argentina.Palabras clave: Antigeopolítica. Cine. América Latina. Dictadura.

scholarly journals Answers

2021 ◽  
pp. 1-5
Author(s):  
Jean-Michel Frodon
Keyword(s):  
Third World ◽  
Political Environment ◽  
Cultural Contexts ◽  
World Cinema ◽  
History Of ◽  
Research Objects ◽  
Second World ◽  
First World

Abstract The answers below touch on three different meanings of world cinema. First, world cinema is the acknowledgement of an existing cinema originated in the diversity of geographical and cultural contexts from all over the globe and expresses the rise of multiple local cinemas on a common international scene. Second, world cinema denotes to the films that proved to be recognizable as artistically valuable through these channels (festivals, critics, niche distributors) and conveys the idea that only certain types of films would be accepted on the international scene. And third, world cinema relates to a more specific type of films, that are not so many but gives a particular visibility to an immensely vast phenomenon with films that are either “without borders”, or mixing various origins and references. By keeping these in mind, the research on world cinema should be issue based, acknowledging de vast rainbow of various ways to make cinema, related with socio-economical and cultural contexts, political environment, inscription in various aspects of history of cinema aesthetics and other artistic and cultural means of expressions, local, regional and global. The films of world cinema are, or at least should be objects of research, objects of thinking, but also if not primarily objects of love.

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