| Submission declined on 20 May 2024 by Ratnahastin (talk). This submission is not adequately supported by reliable sources. Reliable sources are required so that information can be verified. If you need help with referencing, please see Referencing for beginners and Citing sources.
Where to get help
How to improve a draft
You can also browse Wikipedia:Featured articles and Wikipedia:Good articles to find examples of Wikipedia's best writing on topics similar to your proposed article. Improving your odds of a speedy review To improve your odds of a faster review, tag your draft with relevant WikiProject tags using the button below. This will let reviewers know a new draft has been submitted in their area of interest. For instance, if you wrote about a female astronomer, you would want to add the Biography, Astronomy, and Women scientists tags. Editor resources
|  |
Fourth Cinema is a filmmaking movement which focuses on colonization from the Indigenous perspective. The term fourth cinema was first coined by Maori filmmaker Barry Barclay in 2002, and served to differentiate indigenous minority cinema from that of First, Second, and Third cinema movements.[1] Similar to the Third Cinema movement, it denounces neocolonialism and Hollywood studio system which uses cinema primarily as a means for profit.
History
editThe Fourth Cinema movement emerged in the early 2000's, when its existence was first asserted by Barry Barclay. The concept of a Fourth-world cinema emerged primarily out of Barclay's idea of a "national orthodoxy", which referred to, "the perspective to which first peoples are subject in settler societies,".[2] This refers to narratives which are often asserted in western media, and that portray indigenous peoples as savage, uncultured victims.
Goals
editThe goal of in establishing a fourth cinema movement was to empower Indigenous filmmakers to and to "privilege the indigenous gaze and the indigenous audience."[3] The movement is distinct from First and Third cinema movements, and focuses only on Indigenous narratives.
It aims to reframe the colonial narratives which are often presented in First Cinema films, and to focus on differences between cultures in a productive manner which allows for greater representation of Indigenous culture, as opposed to presenting cultural differences as flaws as in some western media
According to Barry Barclay, Fourth Cinema can be described as, "A minority being confident enough to talk in its own voice about whatever it chooses and as it does so, having a feeling that the talk will be of interest to others who wish to drop in,".[4] The movement is designed and intended to be a safe space for filmmakers to preserve and protect Indigenous narratives, especially those that come from lived experiences. Although Fourth Cinema has enjoyed box office success, box office and global recognition are not the goals of the movement. The most important audience for fourth cinema are the indigenous communities that the films represent, and the conservation of the Indigenous experience and culture.
References
edit- ^ Hearne, J. (2012-02-28). "Unsettling Sights: the Fourth World on Film". Screen. 53 (1): 95–99. doi:10.1093/screen/hjr067. ISSN 0036-9543.
- ^ Turner, Stephen (2013-10-01), "Reflections on Barry Barclay and Fourth Cinema", The Fourth Eye, University of Minnesota Press, pp. 162–178, doi:10.5749/minnesota/9780816681037.003.0009, retrieved 2024-05-19
- ^ "Sites of exuberance: Barry Barclay and Fourth Cinema, ten years on | Intellect". intellectdiscover.com. doi:10.1386/macp.11.3.347_1. Retrieved 2024-05-19.
- ^ Bennett, Kirsty (2006). "Fourth Cinema and the Politics of Staring". Illusions. 38.: 19–23.