However, contemporary filmmaking is based more intensively on technological advances integral to all stages of the value chain.
Third Cinema is the term used for films addressing social and political situations in Asia, Africa and Latin America. Marxist ideas empowered revolutionary struggles against Neocolonialism that inspired Third Cinema, and have impacted film-making practice. An example is Karl Marx’s belief that it is not sufficient to interpret the world, it is important to transform it (Guneratne & Dissanayake 2003: 3). Until a few decades ago, the use of films as a revolutionary tool was delayed because of circumstances related to “lack of equipment, technical difficulties, the compulsory specialisation of each phase of work, and high costs” (Solanas & Getino 1997: 44). Advances have taken place within each specialisation, with the simplification of movie cameras and tape recorders, and improvements in the medium of cinema such as rapid film shot in normal light, automatic light meters, improved audiovisual synchronisation and the increasing availability of know-how. These have demystified film-making and extended its access to larger number of people in different social layers.
Revolutionary film-making is based on cinema known as documentary, with its vast scope including educational films, or the reconstruction of a fact or historical event. The images document, bear witness to, refute or support the truth of a situation, thereby raising them to a level higher than that of a film (Solanas & Getino 1997: 46). On the other hand, Nichols (1985: 509) argues that “cinema cannot show the truth or reveal it, because the truth is not out there in the real world waiting to be photographed”. Cinema can only produce meanings, which need to be plotted, particularly in relation to other meanings. Hence, the