Feb 17
Fernando Solanas, February 16, 1936 – November 6, 2020.
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Fernando Solanas, February 16, 1936 – November 6, 2020.
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"No internationalist form of struggle can be carried out successfully if there is not a mutual exchange of experiences among the people, if the people do not succeed in breaking out of the Balkanisation on the international, continental, and national planes which imperialism is striving to maintain."
Fernando Solanas and Octavio Getino: Towards a Third Cinema, Argentina, 1969
Zagreb, 13 November 2024
La hora de los hornos (The Hour of the Furnaces | Fernando E. Solanas & Octavio Getino | 1968)
TOWARDS A THIRD CINEMA: NOTES AND EXPERIENCES FOR THE DEVELOPMENT OF A CINEMA OF LIBERATION IN THE THIRD WORLD (Argentina, 1969)
"This profoundly influential manifesto, which coins the term Third Cinema, lays out Solanas and Getino’s strategy in making their groundbreaking La hora de los hornos (The Hour of the Furnaces, Argentina, 1968). They position Third Cinema in contra-distinction to Hollywood fi lm (First Cinema) and European “waves” and art cinema, including cinema novo (Second Cinema). They give priority to the documentary as a form of cinema that allows for social and political analysis and transformation, calling it the main basis of revolutionary fi lmmaking. They set out to transform not only what kinds of images appear on the screen but also the ways in which moving images are distributed and screened in Latin America, arguing for exhibition practices that lie outside the dominant, capitalist modes of spectatorship. As Jonathan Buchsbaum has demonstrated, Solanas and Getino did not mean for this manifesto to be static; as such they revised it over the years, adapting it to political changes and to what they discovered through their collective Cine Liberación and through screenings of Hour of the Furnaces throughout Latin America." (Film Manifestos and Global Cinema Cultures, a Critical Anthology, 2014, Scott MacKenzie)
We are not here to make anthropological films. We are working to change the world.
The existence of a revolutionary cinema is inconceivable without the constant and methodical exercise of practice, search, and experimentation. It even means committing the new film-maker to take chances on the unknown, to leap into space at times, exposing himself to failure as does the guerrilla who travels along paths that he himself opens up with machete blows. The possibility of discovering and inventing film forms and structures that serve a more profound vision of our reality resides in the ability to place oneself on the outside limits of the familiar, to make one's way amid constant dangers. Our time is one of hypothesis rather than of thesis, a time of works in progress - unfinished, unordered, violent works made with the camera in one hand and a rock in the other. Such works cannot be assessed according to the traditional theoretical and critical canons. The ideas for our film theory and criticism will come to life through inhibition-removing practice and experimentation.
Fernando Solanas’ and Octavio Getino’s “Toward a Third Cinema”
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Fernando «Pino» Solanas, Sur (1988). Cuenta con la participación de Roberto Goyeneche.
Ma lo sapete che Fernando Solanas, oltre ad aver girato film meravigliosi come "Tangos", "Sur" e "El Viaje", è stato anche 3 volte deputato e una volta senatore della Repubblica Argentina e che, nel 2007, è stato anche candidato alla presidenza della Repubblica?
Lo sapete che nel '68 girò un documentario di più di 4 ore presentato per la prima volta a Pesaro e poi proiettato clandestinamente da vari sindacati e gruppi di base argentini per favorire la riflessione, il dibattito e la mobilitazione contro la dittatura?
Lo sapevate che ha composto a quattro mani con Astor Piazzolla "Vuelvo al Sur", interpretata da Roberto Goyeneche e poi ripresa da interpreti del calibro di Mercedes Sosa, Caetano Veloso e i Gotan Project (ma anche da Peppe Servillo, da Eugenio Bennato e da Fiorella Mannoia, in Italia)?
Ecco, lo sapevo, non lo sapevate...
E allora leggetelo questo post.
Allargate il vostro spettro.
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Vita e morte parigina di un maestro del cinema argentino
POST-POST-SCRIPTUM 1079
CE SOIR, CINÉ-CLUB (104) : “La Hora de los hornos” Fernando Solanas.