Definition
Olivier Assayas’s seminal film Après mai (2011) includes a key moment when the protagonists, students from France travelling to Italy, participate in an open-air screening of revolutionary film-making on China and Latin America. The depiction of the young revolutionaries in early 1970s Florence, gathered around the screen in perfect counter-cultural outfit, endlessly debating the limits between bourgeois and radical film-making and whether cinema can provide the ‘revolutionary syntax’ for the new rebellious identities, encapsulates the entire meaning of cinema as a vehicle of anti-imperialist resistance at the time.
Introduction
The mass media explosion in the 1960s, Marshall McLuhan’s idea of the ‘global village’, the technological advances in terms of mobile cameras, editing and film-making in general, but also a more politicised audience ready to be seduced by the cinematic stimuli, played a major role in the dissemination of information regarding revolutionary movements,...
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References
Fanon, F. (2007 [1961]). Wretched of the Earth. New York: Grove Press.
Guneratne, A., & Dissanayake, W. (2003). Rethinking Third Cinema. London: Routledge.
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Selected Works
MacBean, J. R. (1975). Film and revolution. Bloomington/London: Indiana University Press.
Solanas, F., & Getino, O. (1976). Towards a Third Cinema. In B. Nichols (Ed.), Movies and methods. Berkeley/Los Angeles/London: University of California Press.
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Kornetis, K. (2020). Cinema and Anti-imperialist Resistance. In: Ness, I., Cope, Z. (eds) The Palgrave Encyclopedia of Imperialism and Anti-Imperialism. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-91206-6_195-1
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DOI: https://doi.org/10.1007/978-3-319-91206-6_195-1
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