Cinema Novo and New/Third Cinema Revisited: Aesthetics, Culture and Politics Author(s): Ana del Sarto Source: Chasqui, Vol. 34, Special Issue No. 1: Brazilian and Spanish American Literary and Cultural Encounters (2005), pp. 78-89 Published by: Chasqui: revista de literatura latinoamericana Stable URL: http://www.jstor.org/stable/29742031 Accessed: 05-03-2017 15:36 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact
[email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Chasqui: revista de literatura latinoamericana is collaborating with JSTOR to digitize, preserve and extend access to Chasqui This content downloaded from 140.233.2.215 on Sun, 05 Mar 2017 15:36:17 UTC All use subject to http://about.jstor.org/terms CINEMA NOVO AND NEW/THIRD CI? NEMA REVISITED: AESTHETICS, CUL? TURE AND POLITICS Ana Del Sarto Bowling Green State University During the 1960s, three dissimilar but interrelated aesthetic projects were conflated under the rubric of what later became known as the New Latin American Cinema: Imperfect Cinema from Cuba, New Cinema and, later, Third Cinema from Argentina and Cinema Novo from Brazil. As the title of my essay states, I will only focus my analysis on a comparison between Cinema Novo and New/Third Cinema.1 Both shared a general context of emergence and similar theoretical purposes; however, in practice many differences arose mainly related to the specific characteristics of each local context and the concrete articulations between the aesthetic, the cultural and the political.