Mula naman sa hanay ng Marxistang teorya nagmula ang mga postkolonyal na

Mula naman sa hanay ng marxistang teorya nagmula ang

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Mula naman sa hanay ng Marxistang teorya nagmula ang mga postkolonyal na pananaw ng mga filmmaker-kritiko mula Latin Amerika. Mababakas ang magkakaparehong oposisyon ng mga Latinong filmmaker sa tinatawag nil ang “sloganized cinema of emotional manipulation” ( Willemen 179 ). Sa manifestong “ For An Imperfect Cinema (1969) na sinulat ng Cubanong si Julio Garcia Espinosa, nanawagan siya sa pagbuwag ng pader na naghihiwalay sa sining at sa tunay na buhay, sa filmmaker at sa masa. Naisip ni Espinosa ang katagang Imperfect Cinema sapagkat para sa kanya, ang bagong poetika ng ganitong cinema, higit sa lahat, ay isang: “Partisan” and “committed” art, a consciously and resolutely committed cinema— that is to say, an “imperfect” cinema […] Imperfect cinema must above all show the process which generates the problems. It is thus the opposite of a cinema principally dedicated to celebrating results, the opposite of a self-sufficient and contemplative cinema, the opposite of a cinema which “beautifully illustrates” ideas or concepts which we already possess. (174-175)
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31 Ayon pa kay Espinosa, hindi importante kung ang pelikula ay isang dokumentaryo o kathang-isip na sumusunod lamang sa pormula ng mga genre, ang mahalaga ay ang pakikipagtunggali nito sa kanluraning gahum : “Imperfect Cinema can make use of the documentary or the fictional mode or both. It can use whatever genre, or all genres. It can use cinema as a pluralistic art form or as a specialized form of expression” (176). Ang papel naman ng kritiko ang binigyang-pansin ni Jorge Sanjines, na tubong Bolivia, sa kanyang “Language and Popular Culture” (1970). Para kay Sanjines, iba dapat ang maging batayan ng kritiko kung mapagpalayang pelikula ang kanilang babasahin sapagkat may tiyak itong layunin ang buwagin ang gahum ng imperyalista at maka-Amerikanong cinema. Sa ganitong uri ng cinema, dapat mas pagtuunan ng pansin ng kritiko ang nilalaman ng pelikula at pumapangalawa lamang ang pagsuri sa estilo nito. Sa madaling salita, ang istorya ang mas mahalaga sapagkat ito ang puso ng pelikula. Sa istorya makikita kung ano ba talaga ang mensahe ng pelikula para sa manonood: We expect criticism […] which is put forward as a weapon to be different. If criticism understands the function of such a cinema, then it will contribute to the film by analyzing its effectiveness. It is also essential that criticism comes from those for whom the film is made, since it is they who are facing up to and know the enemy which is being denounced […] The cinema is similar to the popular and didactic political book and cannot therefore be judged by criteria such as “I like it” or “I don’t like it.” One can say if one agrees or not, but for us any criticism must take as its central premise the “effectiveness” of the film and subordinate other values.
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