Third Cinema Hypotheses and the Nollywood Experience


The term, ‘Third Cinema' was coined within an interview together with the Argentine Gran pantalla Liberacion group, published inside the journal Cinematografo Cubano (March 1969), and was then more fully developed in the manifesto " To a Third Cinema: Notes and Experiences pertaining to the Development of a cinema inside the Third World, ” written by Fernando Solanas and Octavio Getino, members of the group. Femi Shaka identifies it because " an instrument for creating a revolutionary consciousness pertaining to the mass mobilization intended for society intended for social alter, ” (2003, p. 90). It is therefore a filmmaking method that would aid nationalist movements in creating a new socio-cultural solidarity in the struggle against western imperialism and for countrywide self – determination. The 3rd Cinema Movements witnessed several works in its launch in theory and practice. A few of these works include Fernando Biri's Tire Pass away (Throw us a Dime, 1958); Nelson Pereira dos Santos's Vidas Secas (Barren lives, 1963); Glauber Rocha's Antonio das Mortes (The Dragon of Bad against The Soldier Saint, 1968); and Solanas/Getino's revolutionary film La Hora de los Hornos (The Hour of the Furnaces, 1968). Assumptive works included Fernando Biri's " Theatre and Underdevelopment, ” Glauber Rocha's " The appearance of Hunger, ” and " The aesthetics of Violence, ” Slanas and Getino's composition, " Towards a Third Cinema, ” Espinosa's " Pertaining to an Not perfect Cinema, ” Jorgr Sanjines's " Concerns of Kind and Articles in Groundbreaking Cinema, ” etc (Shaka, p. 90). In their content Towards one third Cinema, Solanas and Getino describe the movement as a result: The anti-imperialist struggle from the peoples in the Third World associated with their equivalents inside the imperialist countries makes up today the axis worldwide revolution. Third cinema is definitely, in our thoughts and opinions, the cinema that recognises in that have difficulties the most enormous cultural, technological, and imaginative manifestation of the time, the truly great possibility of making a liberated personality with each persons as the starting point - in a word, the decolonisation of culture (Solanas/Getino, electronic version).

Based on the above explained, we shall study the Nigerian Video Film industry with a view to proclaiming if we have been completely able produce a revolutionary film or not.

Understanding Third Cinema

The important thing to understanding a Third Globe Cinema is usually appreciating and interrogating why an individual film is made. Solanas and Getino maintained that theirs was not a cinema meant to make the viewer feel at ease, but rather it should make sure they are want to question and alter the world, hence their creation of La Hora de Los Hornos (The Hour with the Furnaces). The inception of third theatre brought together participants in many different anti colonial revolutions within a period when the world was understood to be basically polarized along the lines of nation and class. Third cinema generally uses a practical style linked to verite or sometimes with Italian neorealism. At times by using non professional actors or maybe workers and ordinary people carrying out their every day tasks. Third cinema set out to destroy different aspects of what has been named the colonial time mentality also to replace it with assorted forms of ethnical affirmation. Summing up the situation of under developed and its lenders in 69, Solanas and Getino wrote, " as they are not masters with the land upon which they walk, the neo-colonized are not experts of the ideas in their very own heads” (electronic version). They also maintain that " if film, the most veritable instrument of communication in our times is used to meet only the interests of the bourgeoisie, the oppressed masses might lose an invaluable revolutionary application for social change” (ibid). It was recognized that representational forms, by news forms to standard feature film narratives of individual heroism, were section of the functioning of institutions, as well as the functioning of cultural and economic electric power. Therefore it was also recognized that control...

Bibliography: List, J. (2008). Third Theatre: Origins and Permutations. Recovered on twentieth February 08, from http:/

Shaka, F. (2003). Methodological Challenges in the Theory and Critcism of African Cinema. In

Idiong, S. Um., Ugiomoh, Farreneheit. A. U. (Eds). Concerns in Imaginative Arts and Art Education in Nigeria. Awansca Catalogs: Lagos.

------------ (2004). Modern quality and the African Cinema. The african continent world Press: Trenton NJ.

Solanas, F., Getino, O. (2008). Towards a Third Cinema. Recovered on third March 2008, from http:/

Turner, G. (1988). Film while Social Practice. London: Routledge.

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