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Nelli Latin Rmerican Cinema

It is necessary to understand that such portrayals find rationale in the power structures that govern Indian society. These power structures do not impart any agency to women. The inclination to portray women as ideal stems from the social and cultural context in which we reside. The pre-occupation with the ideal is what defines the goals of Hindi cinema. This ideal allows for only two types of women characters – the good who is to be idealized and the bad who is to be demonized. Most films still cannot sum up the courage to shatter myths of feminine beauty. | Contemporary Film and Television Series A complete listing of the books in this series can be found at the back of this volume. General Editor Patricia B. Erens Rosary College Advisory Editors Lucy Fischer University of Pittsburgh Miriam White Northwestern University Peter Lehman University of Arizona Caren J. Deming University of Arizona Robert J. Burgoyne Wayne State University Nẹui Latin American Jioejj Volume One Theom. Practices and Transcontinental Articulations Edited by MICHAEL Ĩ. MARTIN Wayne State University Press Detroit copyngni iyy oy waync Oldie LHiivciMiy riedd Detroit Michigan 48201. All rights are reserved. No part of this book may be reproduced without formal permission. Manufactured in the United States of America. 01 00 99 98 97 5 4 3 2 1 Library of Congress Cataioging-in-Publication Data New Latin American cinema edited by Michael T. Martin. p. cm. Contemporary film and television series Includes bibliographical references and index. Contents V. 1. Theory practices and transcontinental articulations V. 2. Studies of national cinemas. ISBN 0-8143-2705-2 alk. paper ISBN 0-8143-2585-8 pbk. alk. paper ISBN 0-8143-2706-0 alk. paper ISBN 0-8143-2586-6 pbk. alk. paper 1. Motion pictures Latin America History. 2. Motion pictures Social aspects Latin America. 3. Motion pictures Political aspects Latin America. I. Martin Michael T. II. Series. PN1993.5.L3N48 1997 791.43 098 dc21 96-46741 CIP Towards a Third Cinema Notes and Experiences for the Development of a Cinema of Liberation in the Third World Fernando Solanas and Octavio Get no . . . we roust discuss we must invent. . . Frantz Fanon Just a short time ago it would have seemed like a Quixotic adventure in the colonized neocolonized or even the imperialist nations themselves to make any attempt to create films of decolonization that turned their back on or actively opposed thc System. Until recently film had been synonymous with spectacle or entertainment in a word it was one more consumer good. At .