Building a sense of Nationalism Through Third Cinema
It is more than just merely plausible that Third cinema can be used as a vehicle to build a sense of nationalism for Barbadians and the wider Caribbean. Fed on a steady diet of commercial cinema from the developed world, former colonies have acquired the taste for such. This is evident in the numbers that attend the Cinemas to watch blockbusters of their favorite stars while the local productions are left with the scrapes of the viewership fraternity who are either sake holders or those which have some academic interest in the area.
Third cinema is often confused with Third world cinema because of the origins and locations of the cache of films, which have the aesthetic composition, required for classification that have influenced filmmakers from Africa, Latin America and the Caribbean mainly. (Dodge) However even with this coincidental occurrence of being the third movement of cinema after the Hollywood commercial cinema (first cinema) and the European art films (second cinema) this third movement has focused on, and used, Third world issues to create a particular aesthetic. Had this cinema been classified earlier or later it would possibly have broken the somewhat ambiguous situation, which currently occurs where the name is concerned.
Eisenstein claimed that all films were political but not in the same way. This assertion forms the basis of the concept of Third Cinema. This type of cinema describes a film practice and criticism, which is best, suited in addressing the inequalities of political systems. (Wayne, 1) Wayne further states that this cinema that has its roots in the 1960s and 1970s gained even further attention with academia after Teshome Grabriel’s book Third Cinema in the Third World. Clarifying the ambiguous concept by finally indicating that Third Cinema is not defined by geography but by social politics.
Kwame Nkrumah first coined the term neocolonialism and suggested that is it a new system used to control former colonies by dictating what they consumed meanwhile preventing political and economic conditions for optimum development. (Neo-Colonialism xiv) This opinion is shared by Solanas and Octavio Getino who further suggest that culture is somewhat oppressed and to overcome this situation revolution needs to be encouraged which is capable of contributing to the fall of the capitalist system. (Towards a Third Cinema) This is the view that has informed the various aesthetic ideals of Third Cinema that includes: the questioning of existing post-colonial structures, an aim to liberate the oppressed, the questioning of identity and community within communities and diaspora populations, dialoguing with history to challenge past concepts, challenging viewers with the lived experience and strives to rearticulate the nation by using the politics of inclusion and the ideas of people to engender new models. (Dodge)
Teshome Gabriel considers the main principal of cinema made in the third world to be “the ideology it exposes and the consciousness it displays”. This ideology being referred to represents the Imperialist view. A story or a view will change depending on who is doing the packaging of that view. Teshome suggests that by exposing these misconceptions that Third World cinema would further have the ability to allow the audience to think and form conclusions which would differ from the information presented by the commercial cinema. Dodge supports this by stating, “Third Cinema harnesses the power of film to increase social consciousness about issues of power, nationhood, identity, and oppression around the world. For audiences within these regions, particularly those facing cultural and political subordination, Third Cinema aims to illustrate the historical and social processes that have brought about their oppression and to indicate where transformation is required.” Stuart Hall in his examination of Cultural Identity and Diaspora...
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