What up bozos, any film buffs in here? I'm making a counter-mainstream cinema thread largely because it's my passion. I take the terminology of first, second and third cinema to indicate three different modes of production that influence editing and well pretty much everything that appears on and off screen in relation to the product at hand. First cinema is mainstream cinema and there is mainstream cinema primarily produced by the ruling class in every country and generally follows normative editing rules. Second cinema are art house productions that may or may not be political but are primarily reflects of auteurs and whatnot, so they might be radical in form, but not so radical in content, where first cinema is neither radical in form or content. Both categories tend to be financed by rich people, government institutions and corporations.
Third cinema, the best cinema, engaged in class struggle from the entire get-go. It is radical in form and content and it's production cycle is neither supported nor guaranteed. It was a movement started by filmmakers like Glauber Rocha, Jean Luc-Godard, Haile Gerima, Chantal Ackerman, etc.
I'm going to start with one of my absolute favorite third cinema filmmakers, Masao Adachi - who was a member of the Japanese Red Army, made a bunch of super radical films and then disappeared in Palestine for 27 years who later got captured by the Japanese government and forced back into Japan. When I think about Adachi, I think about every quality of third cinema and generally about the role of art in relation to class struggle more generally. in PLFP Declaration of World War (I will link below), Adachi tried to think through the role of the film camera to the overall goal of global revolution - where the beginning and end of the gun and camera lie. I think it's interesting how the French Press took images from that film, took out all the color and pushed their own dominant narratives on an image of Palestinian warriors training as evidence of these revolutionary's "dogmatic fanaticism" and I'm sitting here like, damn, these conversations feel so much like things said in debates, especially between form and content, folks trying to situate their work and workings within broader understandings of power - what can a camera do, what can it not, is reality being represented?
Let me know your thoughts, I don't have much of a goal other than being super excited to talk about cinema with folks - I suppose that's my broader advocacy that everyone study film because these conversations do broadly relate to our conversations in debate and the coursework is generally easy enough that you can be competitive and still be able to get a semi-decent grade as long as you watch and use the analytical skills you pick up in debate and apply them generally to films you watch in class so go be a film major when you go to college and watch weird movies