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James Roy Macbean writes how Solanas and Getino presented an alternative to the societal issues of Argentina— revolutionary struggle. The struggle, then, is a class struggle for a socialist revolution in Argentina. Beatriz Sarlo points out that for Birri and Solanas and Getino, anything that was not sociopolitical documentary was a concession to the class-enemy Therefore, Third Cinema, at the moment, was the essentially only critical option that Argentine filmmakers had.

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They had an ideological obligation to produce these types of films. Teshome H. Phase I is that of the unqualified assimilation, in which the film industry of the Latin America, and the rest of Third World, identifies with the Western Hollywood model and attempts to emulate it.

Phase II is that of the remembrance phase, in which there is a romanticisation of the past culture and past of Latin America. In this phase, filmmaking becomes a public service institution, managed, operated, and run for and by the people, producing films that illustrated the lives and struggles of Third World peoples Gabriel The documentary propelled the Third Cinema Movement and led to the subsequent production of militant films, which were not only limited to documentaries. For this reason, Third Cinema sought to shed light on the truth, elucidating causes rather than documenting effects.

Gabriel reiterates the goal of consciousness-raising in Third Cinema, even stating that a film cannot be revolutionary if it does not aim towards greater consciousness Ramsey Another goal of the films of this movement was to present the reality of drama rather than the drama of reality, a characteristic of Hollywood films that the Latin American movement decried during this time period. The movies of Hollywood, consequently, are typified by dramatic stories that appear real, or the drama of reality.

However, Third Cinema films sought to show on screen the reality of drama, the reality of the current situation of Argentina for the workers and the lower classes. What is the ultimate purpose of all this illuminating of the truth and consciousness-raising?

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The galvanization of people into action. About certain images in La hora de los hornos that represent the first appearance on the stage of history of the Argentine masses as masses , Macbean mentions:. Anyone who wishes to understand the political reality of Argentina—and especially anyone who seeks to formulate a political program in accord with the needs and will of the Argentine proletariat—must necessarily confront the existence of this phenomenon, analyze its constituent parts, and see which, if any, are usable in the political situation in Argentina today.

As can be seen from this example, the films of the Third Cinema occasionally show the Argentine people what could be, subtly asking them to fight for it. In general, the films of Third Cinema directly incite the Argentine people. As Macbean points out, at one point in La hora de los hornos , the audience reads on the screen, in huge letters: Every spectator is a coward or a traitor The coward is the individual who does not do anything to fight for the cause of liberation of the oppression of the dominant sector.

Thus, the film presents that audience member with a challenge to overcome and a decision to make. Through showing the Argentine masses the miserable working conditions and dismal situation in which the country finds itself, Third Cinema films arm them in virulence, nonconformism, plan rebelliousness and discontent so as to get them to take action Solanas As a result, the spectator becomes an accomplice and a member of the revolution.


In this manner, the film becomes a detonator and the camera, a gun. The camera transformed into a gun, the filmmaker into the guerilla warrior, the spectator as the accomplice, all united for a revolution of liberation and definitive emancipation from the dominant sector. The middle sector of society was the target audience of Third Cinema.

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It was to these individuals in Argentine society during the s and s that the films of the Third Cinema movement were directed, to whom their style attempted to influence and galvanize into action. Rejecting both the Hollywood and auteurist models, Third Cinema sought its own themes and styles adequate to the liberation process of the Third World Burton As Teshome H.

The image of the masses was included in Third Cinema films to fuel the notion of collective uprising and action in the minds of the Argentine working class. In terms of stylistic techniques, Third Cinema was characterized by fragmentation, close-up shots, and open-endedness. This stylistic technique, primarily executed through editing choices in the film, was one utilized to rile up the public, seeking to get a response from each spectator. The plan called for an army of 1, Cuban exiles to land on Cuba's southeast coast, the Bay of Pigs, take over the city of Trinidad, and call on Cubans to rise up against Castro.

The plan failed miserably, and it was an embarrassment to Kennedy. After the Bay of Pigs, the political situation was pushed to the brink of nuclear war in the fall of after two Russian ships containing medium-range ballistic missiles docked off the coast of Cuba. After U.

S reconnaissance photos captured Soviet construction of missile sites in Cuba, Kennedy and Soviet Premier Nikita Khrushchev were in an day political deadlock and on the verge of war in what is popularly called the Cuban Missile Crisis. Eventually, the Soviet Union agreed to remove their missiles in exchange for U.

In February , President Kennedy prohibited travel to Cuba and made financial and commercial activity between the island and U. Yet, in a conciliatory action, Kennedy stated on November 17 that he was ready to negotiate normal relations with Cuba and drop the embargo. But Kennedy never began his negotiations; he was assassinated just five days later. It took more than a decade before the U.

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In September , two senators visited the island, and in February Senator Edward Kennedy began pressing for normalized relations between the two countries. By August of that year, the U. Garca-Prez, G. London: L. Rienner Publishers, George, E. Gonzalez, M. Gott, R. Guerrilla Movements in Latin America. New York: Seagull Books, Granado, A. Gronbeck-Tedesco, J.

Guerra, L. Guevara E. Guevara Lynch, E. Guevara, E. Manchester: Manchester University Press, The Motorcycle Diaries London: Harper, Hardt, H. Rivera-Perez, and J. Harmer, T.

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