Bibliography of Books and Articles Published in English on Colonialism and Imperialism in 2011

This essay seeks to reconstruct and provide background to perhaps one of the most heated moments of altercation during the Rencontres internationales pour un nouveau cinema-the debate between the Italian Marxist critic Guido Aristarco and the Cuban filmmaker and theorist Julio Garcia Espinosa. The discussion was conducted after Aristarcos presentation at the very end of the event, and several other Latin American and European filmmakers and critics joined it.To give a short summary of the debate: in his presentation Aristarco briefly criticized Manuel Herrera's Cuban film Giron (Bay of Pigs, 1972) for what he saw as its "triumphalist" aesthetic at the expense of any critical exploration of the conflict inherent in the contemporary moment. Aristarco used this critique as an occasion to advocate for a return to what he proposed to be a true Marxist artistic method of critical realism. In response, Garcia Espinosa attacked Aristarco's idea of the "return to Marxist critique" as lacking any historical concreteness and undermining the centrality of the transformative-rather than interpretive-role of Marxist analysis. He implicitly defended the film by claiming that the choices made by Cuban filmmakers were determined not by a desire to revolutionize film aesthetics, but by a need to contribute to a cultural revolution, which has its own specific historical and political needs. Aristarco responded with dismay that he was absolutely in agreement with this claim, and that his main criticism of the film had to do with the films triumphalist tone. At that point the debate was joined by Guy Hennebelle, one of the key French critics of Third Worldist cinema, who supported Aristarcos concerns about the film, which he didn't like because it seemed too inspired by the "film aesthetics of American imperialism." He also added more explicitly that he didn't agree with "certain alliances that Cuba practices with certain countries such as the Soviet Union." Garcia Espinosa argued that Aristarcos position demonstrated a lack of understanding of the concrete realities facing the Third World and Latin America in particular. This was supported by an intervention from Fernando Solanas, the celebrated Argentine militant documentarian and author of the famous conceptual formulation of the Third Cinema. Solanas spoke for the Latin American filmmakers, maintaining that theirs was not a defensive attitude, but rather that they were actively criticizing "any approach which in the abstract criticizes the concrete march of history of the revolutionary processes." This, according to him, lead to an "abstract and misinformed critique."1This was one of the few moments of open disagreement amidst the demonstration of unity and solidarity between the different fractions of what could be loosely defined as a Thirdworldist movement represented at the conference. As such, it crystalized with particular force some of the tensions-both political and historical-which came into play within this cluster. In some ways, the animated debate (recorded and preserved at the Cinematheque Quebecoise, along with all the other audiovisual documents from the Rencontres) lays bare certain tensions that existed between the European and Latin American groups represented at the meeting. These tensions rhetorically took the shape of disagreement over theoretical issues in Marxist aesthetics, and can be mapped onto the difference in critical film discourse in Europe during that period, which was primarily concerned with issues of aesthetics and textually-based ideological critique, vis-a-vis the strand of Latin American critical tradition, which was rooted in the analysis of material conditions of production and reception of cinema. More fundamentally, however, the dissonance displayed during this debate reflected the divergent historical experiences and political goals of European and Latin American Marxists of the period. The point of contention became the adoption by Latin American radical filmmakers of what Aristarco - and many European leftists with him - perceived as a return to a conservative form of realism, associated more specifically with the Soviet socialist realism of the Zhdanovite period. …

Dissonances in 1970s European and Latin American Political Film Discourse: The Aristarco – García Espinosa Debate

Abstract:This article analyzes director Lucía Puenzo's film Wakolda (2013) in juxtaposition to the eponymous 2011 novella upon which the film was based. By examining Wakolda through the lens of Argentine cinematic history, this study highlights the ways in which transnational co-production trends and Puenzo's screen adaptions of nuanced literary texts impact the representation of Indigenous subjects in twenty-first-century Latin American film and further contribute to the erasure of historically marginalized groups that has occurred in national discourse throughout Argentine history.

"My Camera Is Not a Weapon": Indigenous Erasure in Lucía Puenzo's Wakolda

Between Chaos and the Furnaces

All English translations to date of ‘Hacia un tercer cine’ (‘Toward a Third Cinema’), by Fernando Solanas and Octavio Getino, are based on the original publication in Spanish of the article in the October 1969 issue of Tricontinental (Havana). However, Solanas and Getino published a revised version in 1970, with the same title, which reflected the development of their thinking following the experience of the Cine Liberacion group’s extensive, and often clandestine, screenings of The Hour of the Furnaces. This article translates and discusses some of the most pertinent changes in the previously untranslated (and unacknowledged) revision; in particular, their evolving thought on Third Cinema, militant cinema and the ‘instrumentalisation’ of cinema in the rapidly changing political environment in Argentina at the time.

One, Two… Third Cinemas

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One, Two… Third Cinemas