Film History 6
Revolutionarycinema in Cuba is inspired by political and social problems, forexample, the abuse women in the country, use of drugs and drugtrafficking. The Cubans believed that film was the best way ofexpressing their problems artistically in the world and teach thepublic on how to curb these problems in the society. Cuban cinema gotsponsorship from the government, and this inspired the artisticpeople to come out and express themselves leading to the growth ofrevolutionary cinema. On the other hand, Argentina was among otherLatin America nations forming the Third world revolutionary Cinemarevolution. Mexico was also included.
Thiswas under the Latin America film movement that was pioneered byFernando Solonas and Octavio Getino.This was due to socio politicalpolicies that dragged the development of the Latin America nationsand as a tool to lead people to revolution. It also victimized theHollywood Cinema as that which its main aim is making money andaccording to the Third Cinema in Argentina this was not the purposeof filmmaking. Unlike the revolutionary cinema of Cuba, the Cinema ofArgentina had no support from its government since it was inspiringrevolution against the government because of problems caused bypolitics in the nation.
Militantblack African Cinema in the 1960s and 1970s had struggles indeveloping and growing. This was because of social problems such asracism and slavery against the black community. Despite theseproblems, the pioneers of the militant black African cinema wanted toexpress themselves culturally, politically and artistically. Theyused film to try and stop racism that was rampant in the world at thetime.
Therebeing no other options, the European filmmakers could not dropengaged filmmaking due to the rising political cinema and the micropolitics era in Europe. The developed story telling attributes thatwere not complicated containing easy idea and concepts but as timewent by the 16mm and 8mm filmmakers had to find more easy ways ofstorytelling thereby trying new inventions. They shifted theirattention to modernization by the filmmakers by adopting modern filmtechniques. They had to abandon politics that seek to dismantle allforms of hierarchy and social stratification. Thus, such politics wason the decline among the filmmakers.
RainerWerner Fassbinder’s films were geared to change the Europeanpolitical cinema to modern socialism in the Hollywood cinema. Hisfilms depicted violence especially western violence, for example, theAmerican gang violence. This is according to William R Meyer, TheFilm Buffs Catalog, p203 “violence filled the work of Fassbinder”.At his first phase, Fassbinder’s work depicted his theatrical work.
Herevisited his younger work that he did in theatres before engaging infilm, and this led to his second phase. During the second phase, hetried to change the European political cinema. He did this byclarifying socio-political aspects such as violence, politicsespecially in Germany and class among the people in his country. Someof his films that depicted socio-political aspects include The ThirdGeneration, Despair, In a Year of 13 Moons among others.
Directcinema, a type of documentary, was in the 1960 among the many desiresof filmmakers especially those concerned with documentary films. Itwas from this desire that the filmmakers searched options to betterit in the film industry. The desire to produce real film in reallife, which made real life unfold through film, attracted a bigaudience that led to the growth of direct cinema also improvement intechnological inventions. The fact that people loved how real lifecould unfold through film, greatly led to the development of DirectCinema (Meyer, 1978).
Improvementin equipment used in filmmaking also led to the easier productions ofreal life film. For example the easily available light weightcameras. This could be used to shoot any real life anywhereconveniently since they were very portable. Improved sound equipmentand sound recording machinery led to the production real life filmswith real sound. This was a major aspect in the development of directcinema. The improved technical conditions in Direct Cinema thereforeled a great deal in its development. This also led some filmmakers torevisit narratives that were later used in the documentaries or reallife film.
Documentaryfilms have joined and used more traditional methods because they havebecome more reflexive. They have led to the emergence of structuralfilms by using formal ideas and concepts by filmmakers in makingfilms. This has also led the filmmakers to revisit and do narrativeswith documentaries since the experimental films are not common amongaudience. Some filmmakers have turned the experimental ways totheoretical ways in filmmaking (Meyer, 1978).
Thereare ways and strategies by filmmakers formulated the question thetruthfulness of documentaries. They include rampant staged interviewsquestioning the truth behind the documentaries. Furthermore,filmmakers use short reportage to demonstrate mainstream newsfootage. This has led to the major growing of questioning theauthority and truthfulness of documentaries. The filmmakers believethey can pass their message through these strategies among othermethods, and it is working.
Structuralfilms originated in France after experimental films became morereflexive In the film industry. Structural films are based on theaudience’s thoughts. It gives a thoughtful relationship to thefeeling portrayed by a film. According to structural films, theaudiences’ minds are connected to languages in someoneconsciousness that helps him or her connect with the events in afilm. A structural film also deals with formal concepts to explain anidea (Meyer, 1978).
Undergroundfilms on the other hand they don’t use formal ideas and conceptsduring story telling. They are based on basic and easy concepts instorytelling. They can be compared to experimental films, but theyare much simpler. Structural films are more upgraded than undergroundfilms.
NewNarratives and punk related experimental films emerged to addresssocial ills in the community. These included rape among women,dictatorships among the nations, civil wars, and radical leftpolitics among others. The idea was to teach the public through newnarratives and experimental films how to curb such ills. Films onrape were made new narratives on the civil wars were made, politicalcinema, which led to creating political modernism among others.
Filmmakersused new narratives and experimental films as a tool to educate thepublic, and it worked.
Meyer.W,(1978), TheFilm Buffs Catalog,Arlington House,Virginia.