Latin American Cinema Analysis

756 Words4 Pages
As the “New Latin American Cinema” burst onto the scene into the 1950s and 1960s, so did a new generation of filmmakers who benefitted from the modernization processes that were taking place in capital cities around the region. Hand-held cameras and the influence of Direct Cinema and Cinema Verité had a significant impact on filmmakers like Argentine Fernando Birri, whose training in Europe brought new techniques that would later be expanded and adapted to different Latin American contexts. Although imported Hollywood cinema accounted for about 80 percent of the Latin American film market in those years, a generation of young filmmakers eager to break with cultural imperialism and the commercialization of Latin America’s film industry cultivated…show more content…
Many of these young, militant artists belonged to leftist social movements that adhered to Marxism or other revolutionary ideological currents. In that vein, Julianne Burton mentions that “the rise of Marxist-inflected ideologies in Latin America prescribed a dual quest: for a less stratified socioeconomic system, and for authentic, autonomous, culturally specific forms of expression.” It is from this dual quest that “Third Cinema” was born. The conflicted, impassioned, and ideologically driven revolutionary moment of the 1960s and early 1970s saw the birth of a filmmaking movement that really put Latin American documentary on the map. Fernando E. Solanas and Octavio Getino’s landmark diatribe against neocolonialism, La hora de los hornos (The Hour of the Furnaces, 1968), quickly gained recognition around the globe and continues to stand as a monument within the canon of Latin American documentary. It is perhaps the best know example of Third…show more content…
The different and complex histories of the Cold War period and the civil conflicts it generated brought unfathomable bloodshed and misery to the region: torture, forced disappearance, exile, and myriad other types of human rights violations. From the pain of exile, state terror, and the defeat of the revolutions, a cinema of memory and political protest emerged that, though born in these years, continues to flourish in the present. Very much connected to the search for truth and justice, the cinema of memory has taken up themes like the forensic disinterment of the disappeared; the ongoing search by mothers, grandmothers, and family members for their missing loved ones; the international dimensions of the Latin American dictatorships; and the persistent effects of violence on indigenous communities, students, and other groups. Of course, censorship by military dictatorships had detrimental effects on the amount of cinema produced in countries like Chile or Argentina, not to mention Peru or Guatemala. Yet despite censorship, the dark years of military counterinsurgency also gave us monumental films like Patricio Guzmán’s three part epic on Salvador Allende’s Popular Unity government, La batalla de Chile (The Battle of Chile, 1975–1979), or

More about Latin American Cinema Analysis

Open Document