Third Cinema, World Cinema and Marxism offers an analysis of Third Cinema and World Cinema from the perspective of Marxism. Its starting point is an observation that of all cinematic phenomena none is as intimately related to Marxism as Third Cinema, which decries neoliberalism, the capitalist system, and the Hollywood model of cinema as mere entertainment to make money. This is largely to do with the fact that both Marxism and Third Cinema are preoccupied with inequalities resulting from capital accumulation, of which colonialism is the most extreme manifestation. Third Cinema also defines cinematic modes in terms of representing interest of different classes, with First Cinema expressing imperialist, capitalist, bourgeois ideas, Second Cinema the aspirations of the middle stratum, the petit bourgeoisie and Third Cinema is a democratic, popular cinema.

A Dictionary of Film Studies covers all aspects of its discipline as it is currently taught at undergraduate level. Offering exhaustive and authoritative coverage, this A-Z is written by experts in the field, and covers terms, concepts, debates, and movements in film theory and criticism; national, international, and transnational cinemas; film history, movements, and genres; film industry organizations and practices; and key technical terms and concepts. Since its first publication in 2012, the dictionary has been updated to incorporate over 40 new entries, including computer games and film, disability, ecocinema, identity, portmanteau film, Practice as Research, and film in Vietnam. Moreover, numerous revisions have been made to existing entries to account for developments in the discipline, and changes to film institutions more generally. Indices of films and filmmakers mentioned in the text are included for easy access to relevant entries. The dictionary also has 13 feature articles on popular topics and terms, revised and informative bibliographies for most entries, and more than 100 web links to supplement the text.

"World Socialist Cinema: Alliances, Affinities and Solidarities reconstructs the trajectories of international film circulation between the Soviet Bloc and the countries of the Global South in the mid- to late Twentieth Century. The book takes as its focal point the Tashkent International Festival of Cinemas of Asia, Africa and Latin America that took place in Uzbekistan (USSR) throughout the 1970s and 1980s. Centering on the vast body of cinematic work from the three continents screened at the festival and paying particular attention to the internal tensions and gender dynamics within it, the book proposes world socialist cinema as a distinct formation, providing an alternative to Euro-centric and/or national and regional narratives of film history: an international socialist cinema as seen from the vantage point of the Global South"--

Cover -- Half Title -- Title -- Copyright -- Contents -- Introduction: The Place of The Hour of the Furnaces in World Cinema (and in the Political World) -- Chapter 1: To Invent Our Revolution: An Aesthetic-Political Analysis of The Hour of the Furnaces -- Chapter 2: Fanon and The Hour of the Furnaces -- Chapter 3: A Look from Literature on Fernando Solanas and Octavio Getino's The Hour of the Furnaces -- Chapter 4: Popular Music and Political Militancy in The Hour of the Furnaces -- Chapter 5: The Hour of the Furnaces' Sexualized History -- Chapter 6: The Hour of the Furnaces, May 68, and the Pesaro International Film Festival -- Chapter 7: Tracing the Winding Road of The Hour of the Furnaces in the First World -- Chapter 8: Trails of Ink: An Approximation to the Historiography on The Hour of the Furnaces -- Chapter 9: The Dialogue between The Hour of the Furnaces and the Tradition of Argentine Documentary -- Chapter 10: Solanas' Recent Documentaries -- Chapter 11: Experimenting with TV: The Hour of the Furnaces at the Crossroads of Cinematic Experimentalism and Video Art -- Chapter 12: The Hour of the Furnaces as an Essay Film -- Afterthoughts on The Hour of the Furnaces -- Contributors -- Back Cover.

During the 1960s and early 1970s, Japanese avant-garde filmmakers intensely explored the shifting role of the image in political activism and media events. Known as the "season of politics," the era was filled with widely covered dramatic events from hijackings and hostage crises to student protests. This season of politics was, Yuriko Furuhata argues, the season of image politics. Well-known directors, including Oshima Nagisa, Matsumoto Toshio, Wakamatsu Kōji, and Adachi Masao, appropriated the sensationalized media coverage of current events, turning news stories into material for timely critique and intermedial experimentation. Cinema of Actuality analyzes Japanese avant-garde filmmakers' struggle to radicalize cinema in light of the intensifying politics of spectacle and a rapidly changing media environment, one that was increasingly dominated by television. Furuhata demonstrates how avant-garde filmmaking intersected with media history, and how sophisticated debates about film theory emerged out of dialogues with photography, television, and other visual arts.

Story of cinema -- How movies are made -- Movie genres -- World cinema -- A-Z directors -- Must-see movies.