“In order to impose itself, neocolonialism needs to convince the people of a dependent country of their own inferiority. Sooner or later, the inferior man recognises Man with a capital M; this recognition means the destruction of his defences. If you want to be a man, says the oppressor, you have to be like me, speak my language, deny your own being, transform yourself into me. As early as the 17th century the Jesuit missionaries proclaimed the aptitude of the [South American] native for copying European works of art. Copyist, translator, interpreter, at best a spectator, the neocolonialised intellectual will always be encouraged to refuse to assume his creative possibilities. Inhibitions, uprootedness, escapism, cultural cosmopolitanism, artistic imitation, metaphysical exhaustion, betrayal of country – all find fertile soil in which to grow.”
La hora de los hornos, The Hour of the Furnaces: ‘Neocolonialism and Violence’
with english subs on youtube.
“In the meantime, there exists our culture and their culture, our cinema and their cinema. Because
our culture is an impulse towards emancipation, it will remain in existence until emancipation is a reality: a culture of subversion which will carry with it an art, a science, and ‘a-cinema of subversion.”
“The models of production, distribution, and exhibition continued to be those of Hollywood precisely because, in ideology and politics, films had not yet become the vehicle for a clearly drawn differentiation between bourgeois ideology and politics. A reformist policy, as manifested in dialogue with the adversary, in coexistence, and in the relegation of national contradictions to those between two supposedly unique blocs-the U.S.S.R. and the U.S.A.-was and is unable to produce anything but a cinema within the System itself.”
Towards a Third Cinema: Notes and Experiences for the Development of a Cinema of Liberation in the Third World’
Fernando Solanas and Octavio Getino