Module 7 Homework 7

Module 7 Homework 7
Briana Y Hart
Allied American University

Author Note This paper was prepared for FLM 100, Module 7 Homework 7 taught by Marc Thomson.

Directions: Using word processing software to save and submit your work, please answer the following short answer questions. All responses to questions should be one to two paragraphs, composed of five to seven sentences, in length. Your responses should include examples from the reading assignments.

1. Compare and contrast the "revolutionary" cinemas of Cuba and Argentina.

Argentina was part of third world revolutionary cinema, Solanas and Getino’s “Third Cinema” manifesto essay set the agenda for Argentina’s film making, Solanas explained that not all big productions were necessarily first cinema. Writing later in 1970s, Getino noted that “the force and cohesion of the popular movements in Argentina –were not as strong as we had imagined” (Octavio Getino, “some Notes on the concept of a ‘Third Cinema,” in Tim Barnard, ed., Argentine Cinema [Toronto: Nightwood, 1986], p. 107).
In Cuba, feminist filmmaking pioneered the turn to issue-centered, grassroots problems. As the international women’s movement grew, films on rape, self-defense and house-keeping were paralleled by explorations of women history which are epitomized in the U.S. films Union Maids (1976) and with babies and Banners (1978) by Women’s Labor History Project. During the next decade, minority women also played an increasing part in the changes in experimental cinema.

2. What factors influenced the development of militant black African cinema in the 1960s and 1970s?

Global cold war tensions increased as political turmoil turned to violent conflict in developing Third world nations. Responding to all these, cinema became politicized on a scale not seen since World War II.