Like Mario Handler’s Uruguayan manifesto, Carlos Alvarez’s was written for a country, Colombia, that did not really have a fi lm industry of which to speak. Alvarez argues for a radical Colombian documentary cinema that cannot be recuperated by the bourgeoisie through recourse to aesthetics or obfuscated through the invocations of auteurs. Instead, he argues for an emergent cinema that closely aligns the fi lmmakers with farmers, workers, and the people—one that eschews “art” for politics. To achieve these ends, he argues for the greater use of 8 mm fi lm as a militant tool.


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