Ewa Mazierska is Professor of Film Studies at the University of Central Lancashire,UK. She has published over twenty monographs and edited collections on film and popular music, including From Self- Fulfillment to Survival of the Fittest: Work in European Cinema from the 1960s to the Present (2015) and European Cinema and Intertextuality: History, Memory, Politics (2011). She is principal editor of a journal Studies in Eastern European Cinema.Lars Kristensen is Lecturer in Media, Aesthetics and Narration at the University of Skövde, Sweden, where he teaches moving image theory to game developers. His research focuses on transnational and postcolonial filmmaking. He is the co-editor of Marx at the Movies (2014) and Marxism and Film Activism (2015).

[T]his elucidating book ... [highlights] the continued relevance and crucial importance of politically engaged film practices and scholarship in all their diversity.

• Introduction: Ewa Mazierska and Lars KristensenPart 1: Revisiting FilmsChapter 1: Exporting Cinemarxism in the 1960s: The Case of Soy CubaAndrei RogatchevskiChapter 2: Brazil’s Open Cities: Mimicry, Sexuality, and Class Dynamics in the Urban Landscape of Cinema NovoBruce WilliamsChapter 3: “Unreal City”: The Aesthetics of Commitment in Pratidwandi and InterviewKoel BanerjeeChapter 4: The Peruvian Kuntur Group: A Marxist- Indigenist Filmmaking PracticeIsabel SeguíPart 2: Comparative ReadingsChapter 5: Third Cinema in the 21st century: political utopia in the new documentary films of Fernando SolanasMariano PazChapter 6: Third Cinema after the turn of the millennium: Reification of the sign and the possibility of transformationPaulina Aroch and André DorcéChapter 7: We Have Never Been Transnational: The Female Condition in Socialist Realism, Postsocialism, and Third CinemaLucian TionPart 3: Third Cinema versus World CinemaChapter 8: Dialogical Encounters on the Cinema of Revolution: Save the Children Fund Film and Metalepsis in BlackDavid Archibald and Finn Daniels-YeomansChapter 9: Newsreel Front: A Revived Vision of Third Cinema in SloveniaAndrej ŠprahChapter 10: Listening to the Future: The Film- Philosophy of Abderrahmane SissakoWilliam BrownChapter 11: Class, Gender and Ethnicity in Alfonso Cuarón’s RomaEwa MazierskaChapter 12: ‘After’ or Back to Third Cinema? Plebeian Film, the National Popular, Fingernails and the Resilient BehemothEnrique Uribe-Jongbloed and Toby MillerIndex

Ewa Mazierska is Professor of Film Studies at the University of Central Lancashire,UK. She has published over twenty monographs and edited collections on film and popular music, including From Self- Fulfillment to Survival of the Fittest: Work in European Cinema from the 1960s to the Present (2015) and European Cinema and Intertextuality: History, Memory, Politics (2011). She is principal editor of a journal Studies in Eastern European Cinema.Lars Kristensen is Lecturer in Media, Aesthetics and Narration at the University of Skövde, Sweden, where he teaches moving image theory to game developers. His research focuses on transnational and postcolonial filmmaking. He is the co-editor of Marx at the Movies (2014) and Marxism and Film Activism (2015).

[T]his elucidating book ... [highlights] the continued relevance and crucial importance of politically engaged film practices and scholarship in all their diversity.

• Introduction: Ewa Mazierska and Lars KristensenPart 1: Revisiting FilmsChapter 1: Exporting Cinemarxism in the 1960s: The Case of Soy CubaAndrei RogatchevskiChapter 2: Brazil’s Open Cities: Mimicry, Sexuality, and Class Dynamics in the Urban Landscape of Cinema NovoBruce WilliamsChapter 3: “Unreal City”: The Aesthetics of Commitment in Pratidwandi and InterviewKoel BanerjeeChapter 4: The Peruvian Kuntur Group: A Marxist- Indigenist Filmmaking PracticeIsabel SeguíPart 2: Comparative ReadingsChapter 5: Third Cinema in the 21st century: political utopia in the new documentary films of Fernando SolanasMariano PazChapter 6: Third Cinema after the turn of the millennium: Reification of the sign and the possibility of transformationPaulina Aroch and André DorcéChapter 7: We Have Never Been Transnational: The Female Condition in Socialist Realism, Postsocialism, and Third CinemaLucian TionPart 3: Third Cinema versus World CinemaChapter 8: Dialogical Encounters on the Cinema of Revolution: Save the Children Fund Film and Metalepsis in BlackDavid Archibald and Finn Daniels-YeomansChapter 9: Newsreel Front: A Revived Vision of Third Cinema in SloveniaAndrej ŠprahChapter 10: Listening to the Future: The Film- Philosophy of Abderrahmane SissakoWilliam BrownChapter 11: Class, Gender and Ethnicity in Alfonso Cuarón’s RomaEwa MazierskaChapter 12: ‘After’ or Back to Third Cinema? Plebeian Film, the National Popular, Fingernails and the Resilient BehemothEnrique Uribe-Jongbloed and Toby MillerIndex

Ewa Mazierska is Professor of Film Studies at the University of Central Lancashire,UK. She has published over twenty monographs and edited collections on film and popular music, including From Self- Fulfillment to Survival of the Fittest: Work in European Cinema from the 1960s to the Present (2015) and European Cinema and Intertextuality: History, Memory, Politics (2011). She is principal editor of a journal Studies in Eastern European Cinema.Lars Kristensen is Lecturer in Media, Aesthetics and Narration at the University of Skövde, Sweden, where he teaches moving image theory to game developers. His research focuses on transnational and postcolonial filmmaking. He is the co-editor of Marx at the Movies (2014) and Marxism and Film Activism (2015).

[T]his elucidating book ... [highlights] the continued relevance and crucial importance of politically engaged film practices and scholarship in all their diversity.

• Introduction: Ewa Mazierska and Lars KristensenPart 1: Revisiting FilmsChapter 1: Exporting Cinemarxism in the 1960s: The Case of Soy CubaAndrei RogatchevskiChapter 2: Brazil’s Open Cities: Mimicry, Sexuality, and Class Dynamics in the Urban Landscape of Cinema NovoBruce WilliamsChapter 3: “Unreal City”: The Aesthetics of Commitment in Pratidwandi and InterviewKoel BanerjeeChapter 4: The Peruvian Kuntur Group: A Marxist- Indigenist Filmmaking PracticeIsabel SeguíPart 2: Comparative ReadingsChapter 5: Third Cinema in the 21st century: political utopia in the new documentary films of Fernando SolanasMariano PazChapter 6: Third Cinema after the turn of the millennium: Reification of the sign and the possibility of transformationPaulina Aroch and André DorcéChapter 7: We Have Never Been Transnational: The Female Condition in Socialist Realism, Postsocialism, and Third CinemaLucian TionPart 3: Third Cinema versus World CinemaChapter 8: Dialogical Encounters on the Cinema of Revolution: Save the Children Fund Film and Metalepsis in BlackDavid Archibald and Finn Daniels-YeomansChapter 9: Newsreel Front: A Revived Vision of Third Cinema in SloveniaAndrej ŠprahChapter 10: Listening to the Future: The Film- Philosophy of Abderrahmane SissakoWilliam BrownChapter 11: Class, Gender and Ethnicity in Alfonso Cuarón’s RomaEwa MazierskaChapter 12: ‘After’ or Back to Third Cinema? Plebeian Film, the National Popular, Fingernails and the Resilient BehemothEnrique Uribe-Jongbloed and Toby MillerIndex