VLVL2 (10) Real life, 202

[Terrance]

"Hate will be an element of the battle, a merciless hate for the
enemy, that will inspire the guerrilla-soldier to superhuman
efforts of strength and changes him into an effective, violent,
selected, in cold blood killing machine. That is how our soldiers
must be; a nation without hate can not triumph over a brute
enemy."


For them, cinema is only a political, revolutionary tool, all is reduced
to a political end, and other aspects of Third World existence seem to
be overlooked,
ignored in favour of representing only one element of the society. For
them, ‘any militant form of expression is valid’ (23), with their own
film The Hour of the Furnaces (1968) used as an example. Liberal
references to Marx, Mao Tse-tung and Che Guevara aim to give their
arguments more weight, to substantiate, or perhaps validate their
claims; yet the writers rarely exemplify their stance, often arguing
solely with ideology. For Solanas and Getino Third Cinema operates for
one purpose, to overthrow the colonisers, with the camera becoming ‘the
inexhaustible expropriator of image
weapons; the projector, a gun that can shoot 24 frames per second’ (24).
By the conclusion to the article, Solanas and Getino establish Third
Cinema as ‘guerilla cinema’, its purpose to agitate, instigate, to defy,
to combat. Wrapped in hyperbole, and backed solely by the ideologies of
Marx and Mao, Solanas and Getino’s article suffers significantly from
its passion, as noble as the cause
may be.

See Mumford, the Gun and the Camera 


Terrance wrote:
> 
> When the light and power workers struck over pay in Che's local
> province, he organized a "sling-shot" gang to destroy every street light
> in town overnight.
> 
> Che was only eleven at the time.