Third World Cinematheque. A little-known film library

Mostrar todas las versiones(2)

The Third World Cinematheque (C3M) is a phenomenon that has been very little studied in Uruguay. Founded on November 8, 1969, this movement made up of young intellectuals belonging to the 60's generation, sees cinema as part of a political militancy that falls within the coordinates of the Urug...

Descripción completa

Guardado en:
Detalles Bibliográficos
Autor principal: Dufuur, Luis
Formato: Artículo revista
Lenguaje:Español
Publicado: Departamento de Cine y TV, Facultad de Artes, Universidad Nacional de Córdoba 2018
Materias:
Cine-documental
Semanario Marcha
C3M
Documentary Cinema
Acceso en línea:https://revistas.unc.edu.ar/index.php/toma1/article/view/20866
Aporte de:
Revistas de la UNC de Universidad Nacional de Córdoba
id I10-R10-article-20866
record_format ojs
spelling I10-R10-article-208662020-11-01T03:56:09Z Third World Cinematheque. A little-known film library La Cinemateca del Tercer Mundo (Una Cinemateca poco conocida) Dufuur, Luis Cine-documental Semanario Marcha C3M Documentary Cinema Semanario Marcha C3M The Third World Cinematheque (C3M) is a phenomenon that has been very little studied in Uruguay. Founded on November 8, 1969, this movement made up of young intellectuals belonging to the 60's generation, sees cinema as part of a political militancy that falls within the coordinates of the Uruguayan left wing. Although was extended for a short period of time (November 1969-July 1974), through its films and the publication of the Cinema of the Third World magazine, it left a mark in the cinema and Uruguayan critics. It will no longer be an idea in the head and a camera in the hand, as Glauber Rocha holds, but a camera in the hand that, like a machine gun, makes the cinema a place of action and political struggle. As time passed, the political cinema, elaborated by the C3M was forgotten due to the political conditions generated by the coup d'état; However, within the framework of Uruguayan cinema, it is relevant to analyze, not only its films but also its theoretical essays, testimonies and analysis about the cinematographic aspects that underlie the institution as well as the New Latin American Cinema. This work aims to discuss the role played by the C3M in the early 70's and the way in which the cinema developed by this collective became part of the country's social and cinematographic memory. La Cinemateca del Tercer Mundo (C3M) es un fenómeno que ha sido poco estudiado en el Uruguay. Fundada el 8 de noviembre de 1969, este movimiento, constituido por jóvenes intelectuales pertenecientes a la generación del sesenta, concibe al cine como parte de una militancia política que se inscribe dentro de las coordenadas de la izquierda uruguaya. Si bien la cinemateca se extendió por un breve lapso de tiempo (noviembre de 1969–julio de 1974) dejó, a través de sus filmes y la publicación de la revista Cine del Tercer Mundo, una marca en el cine y la crítica uruguayos.Ya no será una idea en la cabeza y una cámara en la mano, como sostiene Glauber Rocha, sino una cámara en la mano que, a modo de ametralladora, hace del cine un lugar de acción y de lucha política. Con el paso del tiempo el cine político, elaborado por la C3M, quedó en el olvido, producto de las condiciones políticas que generó el golpe de estado; sin embargo en el marco del cine uruguayo se hace relevante analizar, no solo sus filmes, sino sus ensayos teóricos, testimonios y análisis sobre lo cinematográfico que fundamentan la institución así como el Nuevo Cine Latinoamericano. Este trabajo pretende discutir el papel que jugó la C3M a principios de la década del setenta y el modo en que el cine desarrollado por este colectivo pasó a formar parte de la memoria social y cinematográfica del país. Departamento de Cine y TV, Facultad de Artes, Universidad Nacional de Córdoba 2018-11-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistas.unc.edu.ar/index.php/toma1/article/view/20866 Toma Uno; No. 6 (2018): Breakthrough cinemas: New ways of making and thinking about cinema throughout history.; 27-40 TOMA UNO; Núm. 6 (2018): Cines de ruptura: Nuevas formas de hacer y pensar el cine a lo largo de la historia; 27-40 2250-4524 2313-9692 10.55442/tomauno.n6.2018 spa https://revistas.unc.edu.ar/index.php/toma1/article/view/20866/20482 Derechos de autor 2018 Luis Dufuur http://creativecommons.org/licenses/by-nc-nd/2.5/ar/
institution Universidad Nacional de Córdoba
institution_str I-10
repository_str R-10
container_title_str Revistas de la UNC
language Español
format Artículo revista
topic Cine-documental
Semanario Marcha
C3M
Documentary Cinema
Semanario Marcha
C3M
spellingShingle Cine-documental
Semanario Marcha
C3M
Documentary Cinema
Semanario Marcha
C3M
Dufuur, Luis
Third World Cinematheque. A little-known film library
topic_facet Cine-documental
Semanario Marcha
C3M
Documentary Cinema
Semanario Marcha
C3M
author Dufuur, Luis
author_facet Dufuur, Luis
author_sort Dufuur, Luis
title Third World Cinematheque. A little-known film library
title_short Third World Cinematheque. A little-known film library
title_full Third World Cinematheque. A little-known film library
title_fullStr Third World Cinematheque. A little-known film library
title_full_unstemmed Third World Cinematheque. A little-known film library
title_sort third world cinematheque. a little-known film library
description The Third World Cinematheque (C3M) is a phenomenon that has been very little studied in Uruguay. Founded on November 8, 1969, this movement made up of young intellectuals belonging to the 60's generation, sees cinema as part of a political militancy that falls within the coordinates of the Uruguayan left wing. Although was extended for a short period of time (November 1969-July 1974), through its films and the publication of the Cinema of the Third World magazine, it left a mark in the cinema and Uruguayan critics. It will no longer be an idea in the head and a camera in the hand, as Glauber Rocha holds, but a camera in the hand that, like a machine gun, makes the cinema a place of action and political struggle. As time passed, the political cinema, elaborated by the C3M was forgotten due to the political conditions generated by the coup d'état; However, within the framework of Uruguayan cinema, it is relevant to analyze, not only its films but also its theoretical essays, testimonies and analysis about the cinematographic aspects that underlie the institution as well as the New Latin American Cinema. This work aims to discuss the role played by the C3M in the early 70's and the way in which the cinema developed by this collective became part of the country's social and cinematographic memory.
publisher Departamento de Cine y TV, Facultad de Artes, Universidad Nacional de Córdoba
publishDate 2018
url https://revistas.unc.edu.ar/index.php/toma1/article/view/20866
work_keys_str_mv AT dufuurluis thirdworldcinemathequealittleknownfilmlibrary
AT dufuurluis lacinematecadeltercermundounacinematecapococonocida
first_indexed 2022-08-20T01:14:57Z
last_indexed 2022-08-20T01:14:57Z
_version_ 1770718088192327680

Ejemplares similares