ABSTRACT
In 2011, Kodwo Eshun and Ros Gray put forward the concept of Cine-Geography to think about the ways in which militant cinema, particularly in 1960s, went beyond traditional forms of anti-colonial and anti-imperialist critique. This chapter argues that inverted given geopolitical hierarchies – between north and south, or the first and the third worlds – thus helping to reshape contemporary world politics in line with the spirit of the Tricontinental conference held in Havana in 1966, whose aim was, precisely, that of bringing together anti-imperialist movements from all over the world in order to re-center global politics. Cinema is a particularly appropriate object to address anti-imperialism in a moment of transition from anti-colonial struggles to what at the time was perceived as neo-colonialism of which Hollywood films were the most recognisable signifier. The succession of frames as gunshots in La Hora de los Hornos gives us a clear enough sense of how third cinema could be thought of as a weapon.
