Problems of Form and Content in Revolutionary Cinema (Bolivia, 1976)
Abstract

Jorge Sanjinés’s manifesto, like many of the Third Cinema manifestos, disavows the bourgeois notion of the auteur and instead foregrounds the dialectic between collective filmmaking, the film, and the spectator. Using his own Sangre de cóndor (Blood of the Condor, Bolivia, 1969) as an example, Sanjinés argues for a new kind of politically engaged cinema that offers an alternative to Western modernization. Like Espinosa (see Espinosa, “For an Imperfect Cinema,” earlier in this chapter), he foregrounds process over product and offers a salient critical analysis of the ideological dialectic between form and content.


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