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Slums on ScreenWorld Cinema and the Planet of Slums$
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Igor Krstić

Print publication date: 2016

Print ISBN-13: 9781474406864

Published to Edinburgh Scholarship Online: September 2017

DOI: 10.3366/edinburgh/9781474406864.001.0001

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Third Docufictions

Third Docufictions

Chapter:
(p.115) Chapter 5 Third Docufictions
Source:
Slums on Screen
Author(s):

Igor Krstić

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9781474406864.003.0006

This chapter discusses the international film culture of the 1960s and 1970s against the backdrop of the massive urbanisation of what used to be called the ‘Third World’. During these decades not only did world cinema modernise itself in the form of numerous, highly politicised and predominantly leftist, ‘new waves’, but so, too, did many (mega)cities of the global South. The chapter’s first case example, Moi, un noir (Rouch 1958), depicts how rural migrants, full of hopes for and dreams of a better future, flocked to these cities in search of jobs. The intersections between social and film history on a global scale, hence, between the emergence of a politically engaged international film culture and the massive urbanisation of the ‘Third World’, are, as the author argues, not coincidental, and neither is the rise of docufictional forms. Whether theorised as ethnofiction, docudrama, cinéma vérité or Impefect Cinema, these hybrid forms share their historical links with earlier movements (neorealism and the Grierosonian documentary, in particular), as this chapter’s second main example illustrates: De Cierta Manera (Gómez 1974), an essayistic docudrama that investigates the Cuban government’s slum removal policies in a Havana neighbourhood.

Keywords:   slums, Third World, Sara Gómez, Jean Rouch, new wave, De Cierta Manera, cinéma vérité, political film, Havana, Moi un noir

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