The authors cite the Imperfect Cinema movement in Cuba, Cinegiornali liberi in Italy, Zengakuren documentaries in Japan as proof that it is already happening.
Urging the need to further politicize and experiment with the format of film—mainly the documentary—Solanas and Getino illustrate the somewhat obscure and non-universal steps that must be taken to make “revolutionary cinema”:“Real alternatives differing from those offered by the System are only possible if one of two requirements is fulfilled: making films that the System cannot assimilate and which are foreign to its needs, or making films that directly and explicitly set out to fight the System.” Paradoxically, Solanas and Getino continue to state that it is not enough to simply rebel against 'the System'.
The term was coined in the manifesto Hacia un tercer cine (Toward a Third Cinema), written in the late 1960s by Argentine filmmakers Fernando Solanas and Octavio Getino, members of the Grupo Cine Liberación and published in 1969 in the cinema journal Tricontinental by the OSPAAAL (Organization of Solidarity with the People of Asia, Africa and Latin America Solanas and Getino's manifesto considers 'First Cinema' to be the Hollywood production model that promulgates bourgeois values to a passive audience through escapist spectacle and individual characters.
'Second Cinema' is the European art film, which rejects Hollywood conventions but is centred on the individual expression of the auteur director.
Third Cinema is meant to be non-commercialized, challenging Hollywood's model.
Third Cinema rejects the view of cinema as a vehicle for personal expression, seeing the director instead as part of a collective; it appeals to the masses by presenting the truth and inspiring revolutionary activism.
Fundamentally different, Third Cinema films sought to inspire revolution against class, racial and gender inequalities.
Spectators were called upon to reflect on social injustices and the process by which their realities occurred, and to take action to transform their conditions.
Referring to it as “second cinema” or “author's cinema”, the problem begins with the genre's attempt to exist parallel, be distributed by, and funded by 'the System'.Purpose and Goals of Third Cinema Third Cinema seeks to expose the process by which oppression occurs; and to criticize those responsible for social inequality in a country or community.Some of the goals of Third Cinema are: Production Due to their political nature, Third Cinema films were often censored and therefore, the production and distribution of these films were innovative.This unique feature was augmented by highlighting the local history and culture of its nation.Third Cinema’s critique and resistance of Hollywood’s imperialist “spectator” cinema also opened for differing representations of women in film.