This profoundly influential manifesto, which coins the term Third Cinema, lays out Solanas and Getino’s strategy in making their groundbreaking La hora de los hornos (The Hour of the Furnaces, Argentina, 1968). They position Third Cinema in contradistinction to Hollywood film (First Cinema) and European “waves” and art cinema, including cinema novo (Second Cinema). They give priority to the documentary as a form of cinema that allows for social and political analysis and transformation, calling it the main basis of revolutionary filmmaking. They set out to transform not only what kinds of images appear on the screen but also the ways in which moving images are distributed and screened in Latin America, arguing for exhibition practices that lie outside the dominant, capitalist modes of spectatorship. As Jonathan Buchsbaum has demonstrated, Solanas and Getino did not mean for this manifesto to be static; as such they revised it over the years, adapting it to political changes and to what they discovered through their collective Cine Liberación and through screenings of Hour of the Furnaces throughout Latin America.