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<!DOCTYPE html><html><head><title>Third World Film Making and the West - Roy Armes - Google Books</title><link rel="stylesheet" href="/books/css/_a33f2a89320471e58c940b9287b9d4eb/kl_viewport_kennedy_full_bundle.css" type="text/css" /><link rel="stylesheet"href="https://fonts.googleapis.com/css2?family=Product+Sans:wght@400"><script src="/books/javascript/v2_a33f2a89320471e58c940b9287b9d4eb__en.js"></script><script>_OC_Hooks = ["_OC_Page", "_OC_SearchReload", "_OC_TocReload", "_OC_EmptyFunc", "_OC_SearchPage", "_OC_QuotePage" ];for (var _OC_i = 0; _OC_i < _OC_Hooks.length; _OC_i++) {eval("var " + _OC_Hooks[_OC_i] + ";");}function _OC_InitHooks () {for (var i = 0; i < _OC_Hooks.length; i++) {var func = arguments[i];eval( _OC_Hooks[i] + " = func;");}}</script><link rel="canonical" href="https://books.google.com/books/about/Third_World_Film_Making_and_the_West.html?id=qFDnqIwdr8EC"/><meta property="og:url" content="https://books.google.com/books/about/Third_World_Film_Making_and_the_West.html?id=qFDnqIwdr8EC"/><meta name="title" content="Third World Film Making and the West"/><meta name="description" content="This volume is the first fully comprehensive account of film production in the Third World. Although they are usually ignored or marginalized in histories of world cinema," Third World countries now produce well over half of the world’s films. Roy Armes sets out initially to place this huge output in a wider context, examining the forces of tradition and colonialism that have shaped the Third World--defined as those countries that have emerged from Western control but have not fully developed their economic potential or rejected the capitalist system in favor of some socialist alternative. He then considers the paradoxes of social structure and cultural life in the post-independence world, where even such basic concepts as "nation," "national culture," and "language" are problematic.The first experience of cinema for such countries has invariably been that of imported Western films, which created the audience and, in most cases, still dominate the market today. Thus, Third World film makers have had to ssert their identity against formidable outside pressures. The later sections of the book look at their output from a number of angles: in terms of the stages of overall growth and corresponding stages of cinematic development; from the point of view of regional evolution in Asia, Africa, and Latin America; and through a detailed examination of the work of some of the Third World’s most striking film innovators.In addition to charting the broad outlines of filmic developments too little known in Europe and the United States, the book calls into question many of the assumptions that shape conventional film history. It stresse the role of distribution in defining and limiting production, queries simplistic notions of independent "national cinemas," and points to the need to take social and economic factors into account when considering authorship in cinema. Above all, the book celebrates the achievements of a mass of largely unknown film makers who, in difficult circumstances, have distinctively expanded our definitions of the art of cinema.Roy Armes, who lives in London, has written nine books on film, his most recent being French Cinema. He spent more than three years researching this volume."/><meta property="og:title" content="Third World Film Making and the West"/><meta property="og:type" content="book"/><meta property="og:site_name" content="Google Books"/><meta property="og:image" content="https://books.google.com.sg/books/content?id=qFDnqIwdr8EC&printsec=frontcover&img=1&zoom=1&edge=curl&imgtk=AFLRE71aPb6U86rWG1G-yKOCQanv9nSG7qT5jATjxJ97d_TKGVjYnXHDHjfcroHnmNH_PyTo7fy2-S8R9hJ-TZGNHMxecTNw1P4bGxs5S84bRkAqNEBz4EAQvgDv4di7l9Dr7e2UnnTP"/><link rel="image_src" href="https://books.google.com.sg/books/content?id=qFDnqIwdr8EC&printsec=frontcover&img=1&zoom=1&edge=curl&imgtk=AFLRE71aPb6U86rWG1G-yKOCQanv9nSG7qT5jATjxJ97d_TKGVjYnXHDHjfcroHnmNH_PyTo7fy2-S8R9hJ-TZGNHMxecTNw1P4bGxs5S84bRkAqNEBz4EAQvgDv4di7l9Dr7e2UnnTP"/><script></script><style>#gbar,#guser{font-size:13px;padding-top:1px !important;}#gbar{height:22px}#guser{padding-bottom:7px !important;text-align:right}.gbh,.gbd{border-top:1px solid #c9d7f1;font-size:1px}.gbh{height:0;position:absolute;top:24px;width:100%}@media all{.gb1{height:22px;margin-right:.5em;vertical-align:top}#gbar{float:left}}a.gb1,a.gb4{text-decoration:underline !important}a.gb1,a.gb4{color:#00c !important}.gbi .gb4{color:#dd8e27 !important}.gbf .gb4{color:#900 !important} #gbar { padding:.3em .6em !important;}</style></head><body class=""><div id=gbar><nobr><a target=_blank class=gb1 href="https://www.google.com.sg/search?tab=pw">Search</a> <a target=_blank class=gb1 href="https://www.google.com.sg/imghp?hl=en&tab=pi">Images</a> <a target=_blank class=gb1 href="https://maps.google.com.sg/maps?hl=en&tab=pl">Maps</a> <a target=_blank class=gb1 href="https://play.google.com/?hl=en&tab=p8">Play</a> <a target=_blank class=gb1 href="https://www.youtube.com/?tab=p1">YouTube</a> <a target=_blank class=gb1 href="https://news.google.com/?tab=pn">News</a> <a target=_blank class=gb1 href="https://mail.google.com/mail/?tab=pm">Gmail</a> <a target=_blank class=gb1 href="https://drive.google.com/?tab=po">Drive</a> <a target=_blank class=gb1 style="text-decoration:none" href="https://www.google.com.sg/intl/en/about/products?tab=ph"><u>More</u> »</a></nobr></div><div id=guser width=100%><nobr><span id=gbn class=gbi></span><span id=gbf class=gbf></span><span id=gbe></span><a target=_top id=gb_70 href="https://www.google.com/accounts/Login?service=print&continue=https://books.google.com.sg/books%3Fid%3DqFDnqIwdr8EC%26q%3Demergence%26source%3Dgbs_word_cloud_r%26hl%3Den&hl=en&ec=GAZACg" class=gb4>Sign in</a></nobr></div><div class=gbh style=left:0></div><div class=gbh style=right:0></div><div role="alert" style="position: absolute; left: 0; right: 0;"><a href="https://books.google.com.sg/books?id=qFDnqIwdr8EC&q=emergence&source=gbs_word_cloud_r&hl=en&output=html_text" title="Screen reader users: click this link for accessible mode. 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Although they are usually ignored or marginalized in histories of world cinema,\" Third World countries now produce well over half of the world’s films. Roy Armes sets out initially to place this huge output in a wider context, examining the forces of tradition and colonialism that have shaped the Third World--defined as those countries that have emerged from Western control but have not fully developed their economic potential or rejected the capitalist system in favor of some socialist alternative. He then considers the paradoxes of social structure and cultural life in the post-independence world, where even such basic concepts as \"nation,\" \"national culture,\" and \"language\" are problematic.The first experience of cinema for such countries has invariably been that of imported Western films, which created the audience and, in most cases, still dominate the market today. Thus, Third World film makers have had to ssert their identity against formidable outside pressures. The later sections of the book look at their output from a number of angles: in terms of the stages of overall growth and corresponding stages of cinematic development; from the point of view of regional evolution in Asia, Africa, and Latin America; and through a detailed examination of the work of some of the Third World’s most striking film innovators.In addition to charting the broad outlines of filmic developments too little known in Europe and the United States, the book calls into question many of the assumptions that shape conventional film history. It stresse the role of distribution in defining and limiting production, queries simplistic notions of independent \"national cinemas,\" and points to the need to take social and economic factors into account when considering authorship in cinema. Above all, the book celebrates the achievements of a mass of largely unknown film makers who, in difficult circumstances, have distinctively expanded our definitions of the art of cinema.Roy Armes, who lives in London, has written nine books on film, his most recent being French Cinema. He spent more than three years researching this volume.","my_library_url":"https://www.google.com/accounts/Login?service=print\u0026continue=https://books.google.com.sg/books%3Fop%3Dlibrary\u0026hl=en","is_magazine":false,"is_public_domain":false},{"enableUserFeedbackUI":true,"pseudocontinuous":true,"is_cobrand":false,"sign_in_url":"https://www.google.com/accounts/Login?service=print\u0026continue=https://books.google.com.sg/books%3Fid%3DqFDnqIwdr8EC%26q%3Demergence%26source%3Dgbs_word_cloud_r%26hl%3Den\u0026hl=en","isEntityPageViewport":false,"showViewportOnboarding":false,"showViewportPlainTextOnboarding":false},{"page":[{"pid":"PA73","highlights":[{"X":354,"Y":487,"W":61,"H":13},{"X":178,"Y":737,"W":60,"H":13}],"flags":8,"order":90,"vq":"emergence"}]},null,{"number_of_results":41,"search_results":[{"page_id":"PA7","page_number":"7","snippet_text":"... \u003cb\u003eemergence\u003c/b\u003e of Western - educated elites as ruling groups and as the prime movers in cultural production the problems of defining both a \u0026quot; nation \u0026quot; and a \u0026quot; national culture \u0026quot; the issue of language and the insights afforded by literature\u0026nbsp;...","page_url":"https://books.google.com.sg/books?id=qFDnqIwdr8EC\u0026pg=PA7\u0026vq=emergence"},{"page_id":"PA22","page_number":"22","snippet_text":"... \u003cb\u003eemergence\u003c/b\u003e of political opposition parties is a weakening of the structures to which the elite owes its position . Secondly , in moving into the position of the colonial administration , the elite takes on the same subservient role vis\u0026nbsp;...","page_url":"https://books.google.com.sg/books?id=qFDnqIwdr8EC\u0026pg=PA22\u0026vq=emergence"},{"page_id":"PA23","page_number":"23","snippet_text":"... \u003cb\u003eemergent\u003c/b\u003e nationalist elites in most parts of Africa and Asia and still maintain the kind of economic dominance that first Great Britain and then the United States had exercised over Latin America for a hundred and fifty years . With few\u0026nbsp;..."},{"page_id":"PA29","page_number":"29","snippet_text":"... \u003cb\u003eemergence\u003c/b\u003e of a national literature in the United States , where political inde- pendence was matched by economic independence . The title of Larzer Ziff\u0026#39;s book on the generation of writers who , in the fifteen years before the outbreak\u0026nbsp;..."},{"page_id":"PA35","page_number":"35","snippet_text":"... \u003cb\u003eemergence\u003c/b\u003e cannot be ascribed solely to artistic aspiration or disinterested scientific endeavor . Un- like the later systems of radio and television broadcasting , the cinema has not been a tool or direct expression of the state : as a\u0026nbsp;..."},{"page_id":"PA36","page_number":"36","snippet_text":"... \u003cb\u003eemergence\u003c/b\u003e of the Hollywood studio system . In the postwar period , cinema shared in a general economic move from simple competition to the establish- ment of monopoly control . The major Hollywood companies , organized as vertically\u0026nbsp;..."},{"page_id":"PA54","page_number":"54","snippet_text":"... \u003cb\u003eemergence\u003c/b\u003e of talented individual film \u0026quot; authors \u0026quot; within these indus- tries in the late 1950s , and the use of basically realist styles to offer a picture of social and domestic life in the Third World the politically committed cinema\u0026nbsp;..."},{"page_id":"PA62","page_number":"62","snippet_text":"... \u003cb\u003eemergent\u003c/b\u003e non - Western sound film in- dustries , and local films could begin the slow process of winning from Holly- wood movies space on their own cinema screens . The 1930s drive to achieve self - sufficiency in an ever - widening\u0026nbsp;..."},{"page_id":"PA73","page_number":"73","snippet_text":"... \u003cb\u003eemergence\u003c/b\u003e of non - Western commercial film industries is not limited to a single period — say , the 1930s to 1950s and the 1980s problems of self - expression in the newly established cinemas of Asia would seem to be very similar to\u0026nbsp;..."},{"page_id":"PA74","page_number":"74","snippet_text":"... \u003cb\u003eemergence\u003c/b\u003e of the independent states of India and Pakistan . Even more momentous was the Chinese Revolution , completed in 1949 by the com- munists under Mao Tse - tung . The Japanese occupation of Southeast Asia had weakened colonial\u0026nbsp;..."},{"page_id":"PA79","page_number":"79","snippet_text":"... \u003cb\u003eemergence\u003c/b\u003e of a New Indian Cinema , which , while drawing on the lessons of Ray , Sen , and Ritwik Ghatak , offered a wide variety of new voices . 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From the combina- tion of these factors arose \u0026quot; the myth of a Tricontinental\u0026nbsp;..."},{"page_id":"PA92","page_number":"92","snippet_text":"... \u003cb\u003eemergence\u003c/b\u003e of cinema novo in Brazil was followed almost im- mediately , in 1964 , by a military coup and a steadily worsening political cli- mate , which by 1968 had driven Rocha and the Mozambican - born director of The Guns / Os fuzis\u0026nbsp;..."},{"page_id":"PA108","page_number":"108","snippet_text":"... a fair margin of profit . \u0026quot; The low level of cost and the possibility of recovering it all in a single run in a major city precluded the \u003cb\u003eemergence\u003c/b\u003e of a distribution sector in the industry with a 108 National Film Industries."},{"page_id":"PA109","page_number":"109","snippet_text":"Roy Armes. \u003cb\u003eemergence\u003c/b\u003e of a distribution sector in the industry with a strength equivalent to that in the West . Direct personal negotiations with exhibitors could be under- taken by the producers themselves , who did not normally cede the\u0026nbsp;..."},{"page_id":"PA113","page_number":"113","snippet_text":"... \u003cb\u003eemergence\u003c/b\u003e of a whole range of trade organizations aimed at regulating the industry for the benefit of producers and exhibitors alike . The market was constantly expanding , and the introduction of the system of filming to play- back in\u0026nbsp;..."},{"page_id":"PA115","page_number":"115","snippet_text":"... \u003cb\u003eemergence\u003c/b\u003e of a strong nationalist elite , politically organized as the Indian National Congress , which had been established in 1885. Reflections of the nationalist feelings that swept the coun- 22. Bimal Roy : Two Acres of Land / Do. 21\u0026nbsp;..."},{"page_id":"PA116","page_number":"116","snippet_text":"... \u003cb\u003eemergent\u003c/b\u003e Indian elite , of which the most important was the demand for a separate Muslim state , leading in 1947 to partition and to the creation of the state of Pakistan . Within India itself , national unity has been preserved , but\u0026nbsp;..."},{"page_id":"PA137","page_number":"137","snippet_text":"... \u003cb\u003eemergence\u003c/b\u003e of a new , more aggressive nationalism \u0026quot; which was far less inclined to take democracy as its model or the Western powers as ex- amples . \u0026quot; After the Russian Revolution , which had an enormous effect on Chinese intellectuals\u0026nbsp;..."},{"page_id":"PA147","page_number":"147","snippet_text":"... \u003cb\u003eemergent\u003c/b\u003e revolutionary nationalist movement , in the case of the Netherlands and Indonesia . 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In the late 1970s , the Thai film indus- try , which was making around fifty color feature films a year , received support from the government in the form of a heavy import duty on\u0026nbsp;..."},{"page_id":"PA155","page_number":"155","snippet_text":"... \u003cb\u003eemergent\u003c/b\u003e United States - linked bourgeoisie were fostered in Taiwan and South Korea by massive U.S. aid ( forming the largest part of the national budget for many years ) , administered and distributed through the state , which became\u0026nbsp;..."},{"page_id":"PA166","page_number":"166","snippet_text":"... \u003cb\u003eemergence\u003c/b\u003e of com- mercial bourgeoisies in Latin America , and it was these who furnished the capital for the local infrastructure on which this system of Hollywood domi- nance was based . Two potential forms of investment were open to\u0026nbsp;..."},{"page_id":"PA167","page_number":"167","snippet_text":"... \u003cb\u003eemergence\u003c/b\u003e of the important director Jose Agustin Ferreyra , with The Tango of Death I El tango de la muerte in 1917 . The most important silent cinema in Latin America was that of Brazil , where some 1,685 films were made between 1898\u0026nbsp;..."},{"page_id":"PA170","page_number":"170","snippet_text":"... \u003cb\u003eemergence\u003c/b\u003e of more vigorous national film production . This comparative stagnation of Argentine production contrasts strikingly with the situation in Mexico . There , the year 1929 saw important political developments with the founding\u0026nbsp;..."},{"page_id":"PA176","page_number":"176","snippet_text":"... \u003cb\u003eemergence\u003c/b\u003e of the Brazilian cinema novo with Barravento ( 1962 ) , directed ( as his first feature ) by Glauber Rocha ( 1938-81 ; see chapter 13 ) and edited by Nelson Pereira dos Santos . The existence of a new Brazilian cinema was\u0026nbsp;..."},{"page_id":"PA178","page_number":"178","snippet_text":"... \u003cb\u003eemergent\u003c/b\u003e national cinema throttled at birth by political interven- tion from the army was that in Bolivia . There , Jorge Sanjines ( see chapter 16 ) and a few friends — particularly Ricardo Rada and the writer Oscar Soria , joined a\u0026nbsp;..."},{"page_id":"PA190","page_number":"190","snippet_text":"... \u003cb\u003eemergence\u003c/b\u003e of the first Afghan director to become known abroad , Toryali Shafaq . Born in 1947 and trained at the Indian Film and Television Institute in Pune , Shafaq worked for the Ministry of Information and served as local assistant\u0026nbsp;..."},{"page_id":"PA204","page_number":"204","snippet_text":"... \u003cb\u003eemergence\u003c/b\u003e of a number of talented , largely Western - trained 60. Heiny Srour : The Hour of Liberation / Saat al - tahrir daqqat ( Oman , 1973 ) Lebanese directors who were involved in the political turmoil of. 204 National Film Industries."},{"page_id":"PA207","page_number":"207","snippet_text":"... \u003cb\u003eemergence\u003c/b\u003e as a nation - state after World War I , but this is done from the perspective of the British , who form the cen- tral focus of the narrative ; the historical subject is thus reduced to a clash of personal involvements among\u0026nbsp;..."},{"page_id":"PA210","page_number":"210","snippet_text":"... \u003cb\u003eemergence\u003c/b\u003e of the first woman director , the novelist Assia Djebar , and in the provision of ONCIC funds for a sardonic and highly negative view of the revolution , The Crazy Years of the Twist I Les folles annees du twist ( 1983 ) , by\u0026nbsp;..."},{"page_id":"PA215","page_number":"215","snippet_text":"... \u003cb\u003eemergent\u003c/b\u003e black African cinema , which is , even after twenty years , still in its infancy . Exiled film makers from the extreme east and west of black Africa have produced striking films . In the west , Med Hondo ( b . 1936 ) , a Paris\u0026nbsp;..."},{"page_id":"PA249","page_number":"249","snippet_text":"... Sadat\u0026#39;s policies was \u0026quot; the \u003cb\u003eemergence\u003c/b\u003e of a new high - spending millionaire class . Some were nouveaux riches ; others were members of the old regime who had recovered some of 80. Youssef Chahine : The Sparrow / Al - usfur Youssef Chahine\u0026nbsp;..."},{"page_id":"PA250","page_number":"250","snippet_text":"... \u003cb\u003eemergence\u003c/b\u003e as a technocrat indifferent to the demands of the workers . Stylistically , this new film needs to be seen against the traditions of Egyptian popular cinema , since Chahine has sought to give it a broad appeal by including\u0026nbsp;..."},{"page_id":"PA256","page_number":"256","snippet_text":"... \u003cb\u003eemergence\u003c/b\u003e of a national literature in Bra- zil provides a helpful analogy for developments in cinema , where an authentic voice was likewise achieved only after decades of endeavor . Though Brazil had a continuous tradition of film\u0026nbsp;..."},{"page_id":"PA323","page_number":"323","snippet_text":"... \u003cb\u003eEmergence\u003c/b\u003e of African Capitalism ( London : Macmillan , 1983 ) , pp . 75-76 . 33. Ibid . , p . 67 . 34. Jorge Rebelo , quoted in Cinémas noirs d\u0026#39;Afrique , ed . Jacques Binet , Ferid Boughedir , and Victor Bachy ( Paris : CinémAction , no\u0026nbsp;..."},{"page_id":"PA329","page_number":"329","snippet_text":"... \u003cb\u003eemergence\u003c/b\u003e of a distinctive Latin American culture . ] Donoso , José . The Boom in Spanish American Literature . New York : Columbia Uni- versity Press , 1977. [ An account , by a young novelist , of the eruption of Latin American\u0026nbsp;..."},{"page_id":"PA331","page_number":"331","snippet_text":"... \u003cb\u003eemergence\u003c/b\u003e of North American literature to set against the difficulties experienced in the Third World . ] Chapter 3. Cinema and Capitalism The Economics of Third World Film Making Bächlin , Peter . Der Film als Ware . Basel : Burg\u0026nbsp;...","page_url":"https://books.google.com.sg/books?id=qFDnqIwdr8EC\u0026pg=PA331\u0026vq=emergence"},{"page_id":"PA349","page_number":"349","snippet_text":"... \u003cb\u003eEmergence\u003c/b\u003e of African Capitalism . London : Macmillan , 1983 . Lloyd , P. C. Africa in Social Change . Harmondsworth : Penguin , 1967 . Mansfield , Peter . The Arabs . Harmondsworth : Penguin , 1979 . Minter , William . Portuguese Africa\u0026nbsp;...","page_url":"https://books.google.com.sg/books?id=qFDnqIwdr8EC\u0026pg=PA349\u0026vq=emergence"},{"page_id":"PA359","page_number":"359","snippet_text":"... \u003cb\u003eEmergence\u003c/b\u003e of the Black Bourgeoisie . \u0026quot; Race and Class 22 , no . 2 ( 1980 ) : 147–58 . Serceau , Daniel . Sembène Ousmane . Paris : CinémAction , no . 34 / L\u0026#39;Afrique littéraire et artistique ( 1985 ) . Sevastakis , Michael . \u0026quot; Neither\u0026nbsp;..."}],"search_query_escaped":"emergence"},{});</script></div></div></div><script>(function() {var href = window.location.href;if (href.indexOf('?') !== -1) {var parameters = href.split('?')[1].split('&');for (var i = 0; i < parameters.length; i++) {var param = parameters[i].split('=');if (param[0] == 'focus') {var elem = document.getElementById(param[1]);if (elem) {elem.focus();}}}}})();</script>