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 filmmaker has to discover his own language on the theme, arising from a militant and transforming world view. “Pamphlet films, didactic films, report films, witness-bearing films – any militant form of expression is valid” (Solanas & Getino 1997: 47), and a set of aesthetic work norms cannot be laid down. Practice, search and experimentation underscore the activist filmmaker’s commitment to revolutionary cinema. This may include being a pioneer in struggling to highlight the theme, taking chances on the unknown and being prepared to meet with failure amid constant dangers. However, the “possibility of discovering and inventing film forms and structures that serve a more profound vision of our reality resides in the ability to place oneself on the outside limits of the familiar” (Solanas & Getino 1997: 48). Activist films and a public that is eager to view them necessitate new ways of distribution. In Latin America such as in Argentina, the films are exhibited in apartments and houses to audiences of around 25 people. Similarly, in countries such as Chile films are shown in parishes, universities or cultural...
This paper has highlighted how contemporary activist filmmakers seek to democratise film production, distribution and exhibition using new media technology. The emergence of third cinema, and the new trends in film production, distribution and exhibition using new media technology have been examined. Further, contemporary activist filmmaking democratisating the value chain has been found to reduce the costs involved in cinema and to increase the access to films by larger numbers of people. Contemporary documentary filmmakers portraying social and political activism use alternative modes of distribution and exhibition by creating online web series, which continue to exist without the deterioration that occurs in film reels.
This report makes a conclusion that the evidence indicates that digital technology is more advantageous for producers, distributors, and exhibitors significantly reducing the costs of prints and distribution. It facilitates the exhibitors enhancement of the customer experience and consequent higher ticket prices. If the film is distributed online and consequently viewed digitally, the costs are almost negligible. Similarly there are cost savings in the print’s theatre preparation, alternative and flexible programming possibilites such as live events and interactive films and new advertising possibilities. Eliashberg (2006: 657) supports this view, and adds that its downsides include the expensive investment in digital projectors with expected short lifespan, requirement for facilitating technology such as data storage and satellite dishes, as well as operational and service support.