Work Essay

2893 Words Oct 5th, 2015 12 Pages
Global Cold War tensions increased as political turmoil turned to violent conflict in developing Third World nations. Responding to all of this, cinema became politicized on a scale not seen since World War II. The Third World was at the forefront of revolutionary cinema as filmmakers in those countries treated cinema as a tool of social change and a weapon of political liberation. This use of film as a social and political force emerged first in Latin America and spread to Africa and China, while also emerging in the First World countries including the U.S.S.R. and United States. The counterculture and the New Left were examples of an international politics of youth that focused on opposition to American involvement in Vietnam, …show more content…
Women’s filmmaking groups emerged in other countries as well, with France’s Musidora, Italy’s Feminist Film Collective, and Australia’s Sydney Women’s Film Collective being among the most active.

Techniques employed by engaged cinema filmmakers included many of the techniques established by Direct Cinema documentary, such as spontaneously shot reportage, staged interviews and “talking heads”, street footage of demonstrations, and “radical scavenging” of mainstream news-footage, which was pioneered by Emile De Antonio. The innovations of postwar modernist filmmaking were melded with the new radical-left orientation to create a political modernism that made commercial cinema experimental to a degree comparable to the avant-garde movements of the 1920s.

Please view the film Union Maids to see an example of this technique.

By the mid-1970s, many revolutions had failed—as in Latin America—or had revealed a repressive side, like in Vietnam, Cambodia, and China. Filmmakers began to imagine a “micropolitics” that would promote social change at a grassroots level within institutions. The extreme tendencies of political modernism waned in commercial 35mm productions; filmmakers developed less challenging approaches to storytelling and style. Even the Third World, home of the most militant alternative cinemas, began to produce films for an international audience and to work in widely accessible forms. Political modernism hung on somewhat longer in the avant-garde sector,

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