" (Barrat, nd) This view however, is not without its challenges. For example, there is a risk that the film will be examined "from the top-down, interpreting the film so that it fits into the general theoretical framework, and thus ignoring an analysis of the film's specific qualities." (Barrat, nd) in addition, it is reported that this theory is itself questionable in terms of its validity. During the 1980s, it is reported, "a new type of film scholarship emerged." (Barrat, nd) Over the past two decades, there have been two post-theoretical approaches to film: (1) neo-formalism/historical poetics; and (2) historical context. (Barrat, nd)
Classical Hollywood cinema is called the stylistic norm where there is classical narration focused on characters that are goal-oriented with a continual system of editing. These norms are held to be "against the historical conditions of the film's production and exhibition. There are various conditions for example economic and technological or "different modes of production and different advances in technology constraint what a film is and is not able to achieve." (Barrat, nd) Each of the groups is reported to operate "in truth against a socio-political background: films are viewed by different social groups with different attitudes and expectations." (Barrat, nd)
Stated as the third and final area of study in the neo-formalist school is the viewer of the film assumed to be a "passive receiver of information." (Barrat, nd) it is questioned how the psychological activity of the view of the film should be disseminated which leads to the second-post theoretical approach or that of cognitive film theory. Cognitivism was perceived by Hugo Munsterberg in 1916. Cognitivism focuses on normal psychological processes of "both a nonconscious and a conscious nature." (Barrat, nd)
Third Cinema
Third cinema is held as aesthetic and political with principles that serve to result in political, cultural, and social changes worldwide. Third...
Third cinema is critical in filmmaking due to its ability to relate commentary on
social issues and its ability to bring about change.
The move entitled "Yol" centers on an individual in a Turkish
prison and furloughs are given to a few inmates who have served a portion of their sentence. As these prisoners make their journey, the film illustrates how the political oppression and the oppression of the
police have served to alienate the country. This movie involved Yol being shot while in prison. The stories are realistic and allegorical however, the film fails in its endeavor. This is likely because the dominant institutions in Turkey would not have allowed the release of this film had it been too realistic and too revealing of the role that the political institutions play in Turkey including military dictatorship as well as traditions that chain the people and an economic
structure that is one that cannot be separated from the past of
feudalism in
society. Third cinema is enabled by the nod that post-structuralism gives to the ongoing pull between ideologies that are within texts yet external. This nod enabled the film to be politicized and used for Third Cinema in what is a directed and planned reaction. Yol failed as well in addressing the gender inequalities that permeate Turkey.
References
Barrat, D. (nd) Post-Theory, Neo-Formalism and Cognitivism.
Burgoyne JR and Flitterman-Lewis, S. (1992) New Vocabularies in Film Semiotics; Structuralism and Post Structuralism and Beyond. Routledge, Chapman and Hall, Inc.
Interrogating Language Codes (nd) Poststructuralist/deconstructivist Theory. Retrieved from: http://www.tc.umn.edu/~rbeach/teachingmedia/module4/5.htm
Solanas, F. And Getino. O (2012) Towards a Third Cinema. Retrieved from: http://documentaryisneverneutral.com/words/camasgun.html
What is Third Cinema (2012) Third World Cinema. Retrieved from: http://thirdcinema.blueskylimit.com/thirdcinema.html
