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Political cinema, in the narrow sense, refers to cinema products that portray events or social conditions, either current or historical, through a partisan perspective, with the intent of informing or agitating the spectator.[citation needed]
Political cinema exists in different forms, such as documentaries, short films, feature films, experimental films, and even animated cartoons.[citation needed]
Concept
In the narrow sense of the term, political cinema refers to films that do not hide their political stance. In this sense, they differ from other films not because they are political, but because of the way in which their politics is presented. As such, a film does not necessarily have to be pure propaganda to be considered 'political cinema'.[citation needed]
The broader meaning of 'political cinema' is argued to be that "all films are political;"[1][2][3][4] even films that are ostensibly 'apolitical' and escapist, merely promising 'entertainment' as an escape from everyday life, can be understood as fulfilling a political function. The authorities in Nazi Germany, for instance, knew this very well and organized a large production of deliberately escapist films.[citation needed] In other 'entertainment' films, such as westerns, the ideological bias is evident in the distortion of historical reality. A "classical" western would rarely portray black cowboys, although there were a great many of them in the American frontier. Hollywood cinema, which can be understood as the dominant industry of cinema, was often accused of misrepresenting black, female, gay, and working-class people.[citation needed] More fundamentally, not only are the contents of individual films political, but the institution of cinema itself can also be taken as political as well. A huge number of people congregate, not to act together or to talk to each other, but to sit silently, after having paid for it, to be spectators separated from each other. Guy Debord, a critic of the 'society of the spectacle', for whom "separation is the alpha and omega of the spectacle," was therefore also violently opposed to cinema, even though he would make several films portraying his ideas.[citation needed]
In order to differentiate between the narrow and broad notions of 'political cinema', film scholar Ewa Mazierska suggested to divide all such films into the categories of conformist or oppositional and marked or unmarked:[5]
- Conformist films "accept the political status quo;" while oppositional films reject it.
- Marked political films are willing to reveal to their viewers the party/ideology "they serve"; while unmarked films prefer to hide it.
From this point of view, it is the oppositional and marked political films that the most viewers regard as 'political', as discussions about politics in film typically single out these two categories.[5]
History
Cinema, World War I and its aftermath
Before World War I French cinema had a big share of the world market. Hollywood used the collapse of the French production to establish its hegemony. Ever since it has dominated world film production not only economically but has transformed cinema into a means to disseminate American values.[citation needed]
In Germany the Universum Film AG, better known as UFA, was founded to counter the perceived dominance of American propaganda. During the Weimar Republic many films about Frederick II of Prussia had a conservative nationalistic agenda, as Siegfried Kracauer and other film critics noted.[citation needed]
Communists like Willi Münzenberg saw the Russian cinema as a model of political cinema. Soviet films by Sergei Eisenstein, Dziga Vertov and others combined a partisan view of the bolshevist regime with artistic innovation which also appealed to western audiences.[citation needed]
National Socialism
 | This section may be unbalanced towards certain viewpoints. (March 2021) |
Leni Riefenstahl has never been able or willing to face her responsibility as a chief propagandist for National-Socialism, i.e., Nazism. Almost unlimited resources and her undeniable talent led to results, which, despite their hideous aims, still fascinate some aficionados of film. While there is much controversy around her work, it is generally accepted that Riefenstahl's main commitment was to filmmaking, rather than to the Nazi Party. Proof of this might be seen by the portrayal of Jesse Owens' victory in her film about the 1936 Olympic games in Berlin, Olympia (1938), and in her later work, mostly on her photographic expeditions to Africa.[citation needed]
The same is certainly not true of the violent anti-Semitic films of Fritz Hippler. Other Nazi political films made propaganda for so-called euthanasia.[citation needed]
Third Cinema
Recent films
Especially in the last decades of the 20th century, many filmmakers considered focusing on remembrance of and reflection upon major collective crimes such as the Holocaust, slavery and disasters such as the Chernobyl disaster to be their political and moral duty.[citation needed]
Political cinema of the 21st century seems to focus on controversial topics such as globalization, AIDS, and other health-care concerns, issues pertaining to the environment, such as world energy resources and consumption and climate change, and other complex matters pertaining to discrimination, capitalism, terrorism, war, peace, religious and related forms of intolerance, and civil and political rights, as well as other human rights.[citation needed]
Forms
The form has always been an important concern for political filmmakers. While some, like pioneering Lionel Rogosin, argued that radical films, in order to liberate the imagination of the spectator, have to break not only with the content but also with the form of Dominant cinema, the falsely reassuring clichés and stereotypes of conventional narrative film making, other directors such as Francesco Rosi, Costa Gavras, Ken Loach, Oliver Stone, Spike Lee or Lina Wertmüller preferred to work within mainstream cinema to reach a wider audience.[citation needed]
The subversive tradition dates back at least to the French avant-garde of the 1920s. Even in his more conventional films Luis Buñuel stuck to the spirit of outright revolt of L'Âge d'or. The bourgeoisie had to be expropriated and all its values destroyed, the surrealists believed. This spirit of revolt is also present in all films of Jean Vigo.[citation needed]
Selected filmography
- The following is a listing of notable political films or political films made by notable directors:
| Title | Year | Director(s) | Country | Type of film | Notes |
|---|---|---|---|---|---|
| The Birth of a Nation | 1915 | D. W. Griffith | United States | Feature | [6][7] |
| Stachka (Strike) | 1925 | Sergei Eisenstein | Soviet Union | Feature | |
| Bronenosets Potyomkin (Battleship Potemkin) | 1925 | Sergei Eisenstein | Soviet Union | Feature | |
| Padenie dinastii Romanovykh (The Fall of the Romanov Dynasty) | 1927 | Esfir Shub | Soviet Union | Feature | |
| Chelovek s kino-apparatom (Man with a Movie Camera) | 1929 | Dziga Vertov | Soviet Union | Documentary | |
| Mädchen in Uniform (Girls in Uniform) | 1931 | Leontine Sagan | Weimar Republic | Feature | |
| Kuhle Wampe oder Wem gehört die Welt? (To Whom Does the World Belong?) | 1932 | Slatan Dudow | Weimar Republic | Feature | |
| Misère au Borinage (Penury in the Borinage) | 1934 | Joris Ivens and Henri Storck | Belgium | Short documentary | [8] |
| Triumph des Willens (Triumph of the Will) | 1935 | Leni Reifenstahl | Nazi Germany | Propaganda | [9] |
| Der ewige Jude. Ein Filmbeitrag zum Weltjudentum (The Eternal Jew) | 1940 | Fritz Hippler | Nazi Germany | Propaganda | [10] |
| Strange Victory | 1948 | Leo Hurwitz | East Germany | Documentary | [11] |
| Salt of the Earth | 1954 | Herbert Biberman | United States | Feature | [12] |
| Ernst Thälmann – Sohn seiner Klasse (Ernst Thälmann – Son of his Class) | 1954 | East Germany | Kurt Maetzig | Feature | [13] |
| Ernst Thälmann – Führer seiner Klasse (Ernst Thälmann – Leader of his Class) | 1955 | East Germany | Kurt Maetzig | Feature | [14] |
| On the Bowery | 1956 | Lionel Rogosin | United States | Docufiction | [15] |
| The Cool World | 1964 | Shirley Clarke | United States | Feature | [16] |
| Obyknovennyy fashizm (Ordinary Fascism) | 1965 | Mikhail Romm | Soviet Union | Documentary | |
| La battaglia di Algeri (The Battle of Algiers) | 1966 | Gillo Pontecorvo | Italy Algeria |
Feature | |
| Terra em Transe (Entranced Earth) | 1967 | Glauber Rocha | Brazil | Feature | [17] |
| La Chinoise, ou plutôt à la Chinoise: un film en train de se fair (The Chinese, or, rather, in the Chinese manner: a film in the making) | 1967 | Jean-Luc Godard | France | Feature | |
| Titicut Follies | 1967 | Frederick Wiseman | United States | Documentary | [18] |
| La hora de los hornos (The Hour of the Furnaces) | 1968 | Fernando Solanas | Argentina | Feature | |
| In the Year of the Pig | 1968 | Emile de Antonio | United States | Documentary | [19] |
| Teorema (Theorem) | 1968 | Pier Paolo Pasolini | Italy | Feature | [20] |
| if.... | 1968 | Lindsay Anderson | United Kingdom | Feature | |
| Z | 1969 | Costa-Gavras | Algeria/France | Feature | |
| Yawar Mallku (Blood of the Condor) | 1969 | Jorge Sanjinés | Bolivia | Feature | |
| Burn! (Queimada) | 1969 | Gillo Pontecorvo | Italy/France | Feature | |
| Salesman | 1969 | Albert and David Maysles Charlotte Zwerin |
United States | Documentary | [21] |
| Le Chagrin et la Pitié (The Sorrow and the Pity) | 1970 | Marcel Ophüls | France West Germany Switzerland |
Documentary | [22] |
| Ghoroub wa Shorouq (Sunset and Sunrise) | 1970 | Kamal El Sheikh | Egypt | Feature | [23] |
| Warum läuft Herr R. Amok? (Why Does Herr R. Run Amok?) | 1970 | Rainer Werner Fassbinder | West Germany | Feature | [24] |
| Nicht der Homosexuelle ist pervers, sondern die Situation, in der er lebt (It Is Not the Homosexual Who Is Perverse, But the Society in Which He Lives) | 1971 | Rosa von Praunheim | Germany | Documentary | [25] |
| Wanda | 1971 | Barbara Loden | United States | Feature | |
| La classe operaia va in paradiso (The Working Class Goes to Heaven) | 1971 | Elio Petri | Italy | Feature | |
| Il Caso Mattei (The Mattei Affair) | 1972 | Francesco Rosi | Italy | Feature | |
| Sambizanga | 1972 | Sarah Maldoror | Democratic Republic of the Congo | Feature | [26] |
| La Société du Spectacle (The Society of the Spectacle) | 1974 | Guy Debord | France | Documentary | |
| Angst essen Seele auf (Ali: Fear Eats the Soul) | 1974 | Rainer Werner Fassbinder | West Germany | Feature | |
| Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (Jeanne Dielman, 23 Commerce Quay, 1080 Brussels) | 1975 | Chantal Akerman | Belgium France |
Feature | [27][28] |
| Salò o le 120 giornate di Sodoma (Salò, or the 120 Days of Sodom) | 1975 | Pier Paolo Pasolini | Italy France |
Feature | |
| All the President's Men | 1976 | Alan J. Pakula | United States | Feature | |
| Harlan County, USA | 1976 | Barbara Kopple | United States | Documentary | |
| Yarınsız Adam (The Man Without Tomorrow) | 1977 | Remzi Aydın Jöntürk | Turkey | Feature | |
| Satılmış Adam (The Sold Man) | 1977 | Remzi Aydın Jöntürk | Turkey | Feature | |
| Yıkılmayan Adam (The Indestructible Man) | 1978 | Remzi Aydın Jöntürk | Turkey | Feature | |
| Baara (Work) | 1978 | Souleymane Cissé | Mali | Feature | |
| Reds | 1981 | Warren Beatty | United States | Feature | |
| The Wave | 1981 | Alex Grasshoff | United States | Feature | [29] |
| Yol (The Road) | 1982 | Şerif Gören Yılmaz Güney |
Turkey | Feature | Zdroj:https://en.wikipedia.org?pojem=Political_cinema