Third World Film Making and the WestUniversity of California Press, 29 июл. 1987 г. - Всего страниц: 381 This volume is the first fully comprehensive account of film production in the Third World. Although they are usually ignored or marginalized in histories of world cinema," Third World countries now produce well over half of the world’s films. Roy Armes sets out initially to place this huge output in a wider context, examining the forces of tradition and colonialism that have shaped the Third World--defined as those countries that have emerged from Western control but have not fully developed their economic potential or rejected the capitalist system in favor of some socialist alternative. He then considers the paradoxes of social structure and cultural life in the post-independence world, where even such basic concepts as "nation," "national culture," and "language" are problematic. The first experience of cinema for such countries has invariably been that of imported Western films, which created the audience and, in most cases, still dominate the market today. Thus, Third World film makers have had to ssert their identity against formidable outside pressures. The later sections of the book look at their output from a number of angles: in terms of the stages of overall growth and corresponding stages of cinematic development; from the point of view of regional evolution in Asia, Africa, and Latin America; and through a detailed examination of the work of some of the Third World’s most striking film innovators. In addition to charting the broad outlines of filmic developments too little known in Europe and the United States, the book calls into question many of the assumptions that shape conventional film history. It stresse the role of distribution in defining and limiting production, queries simplistic notions of independent "national cinemas," and points to the need to take social and economic factors into account when considering authorship in cinema. Above all, the book celebrates the achievements of a mass of largely unknown film makers who, in difficult circumstances, have distinctively expanded our definitions of the art of cinema. Roy Armes, who lives in London, has written nine books on film, his most recent being French Cinema. He spent more than three years researching this volume. |
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achieved African American film Arab Argentina artistic Asia audience Bengali Bolivia Bombay Brazil British capital capitalist Chahine Chinese cinema novo colonial commercial companies contemporary context countries critics Cuban culture despite director documentary dominance early economic Egypt Egyptian elite emergence established European example exile feature film feature-length film industry Film Institute film production foreign French García Getino Glauber Rocha Gumucio-Dagron Güney's Hennebelle Hollywood Hong Kong Ibid impact important independence Indian cinema Indian film interview Jorge Sanjinés language Latin America London major mass ment movie national cinema National Film neorealism non-Western Octavio Getino Ousmane Sembene output Pakistan Paris percent period Phalke political popular Ray's revolution revolutionary Ritwik Ghatak role Ruy Guerra Satyajit Ray Sembene's Shanghai shot shows social society sound film struggle television theaters Third Cinema Third World Third World film tion tradition underdevelopment West Western Xala Yılmaz Güney Youssef Chahine
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Стр. 23 - body of efforts made by a people in the sphere of thought to describe, justify, and praise the action through which that people has created itself and keeps itself in existence. A national culture in underdeveloped countries should therefore take its place at the very heart of the struggle for freedom which these countries are carrying on. Frantz Fanon The
Стр. 41 - the country that is more developed industrially only shows, to the less developed, the image of its own future.
Стр. 3 - be true that for a European or American studying the Orient there can be no disclaiming the main circumstances of his actuality: that he comes up against the Orient as a European or American first, as an individual second.
Стр. 43 - The world-economy as an economy would function every bit as well without a semiperiphery. But it would be far less politically stable, for it would mean a polarized world-system. The existence of the third category means precisely that the upper stratum is not faced with the unified opposition of all the others because the middle stratum is both exploited and exploiter.
Стр. 71 - present models of utopian worlds; “rather, the utopianism is contained in the feelings it embodies. It presents, head-on as it were, what utopia would feel like rather than how it would be organized. It thus works at the level of sensibility.
Стр. 30 - tradition.”. . . The most far-reaching inventions of tradition in colonial Africa took place when the Europeans believed themselves to be respecting age-old African custom. What were called customary law, customary land-rights, customary political structure and so on, were in fact all invented by colonial codification.
Стр. 13 - saved nationally”: The memory which is assigned him is certainly not that of his people. The history which is taught him is not his own. He knows who Colbert or Cromwell was, but he learns nothing about Khaznadar; he knows about Joan of Arc, but not about El Kahena.
Стр. 85 - Imperialism and capitalism, whether in the consumer society or in the neocolonialized country, veil everything behind a screen of images and appearances. . . . The restitution of things to their real place and meaning is an eminently subversive fact both in the neocolonial situation and in the consumer societies.
Стр. 71 - offers the image of ‘something better' to escape into, or something we want deeply that our day-to-day lives don't provide,
Стр. 14 - The books talk to him of a world which in no way reminds him of his own; the little boy is called Toto and the little girl Marie; and on winter evenings Marie and Toto walk home along snow-covered paths, stopping in front of