Ibrahim Shaddad’s (1994) Human Being gives the viewer a compelling depiction of a rural Sudanese farmer’s struggle to find himself amongst the foreign environment of an urban setting. The awe and wonderment which he displays at the sight of mere everyday objects such as glass windows, VCRs and television sets evidently casts the farmer as a newcomer who has been totally immersed in new surroundings. The move that he makes to the city leaves behind subsistence farming in an attempt to reappropriate capitalist ideology to suit his particular context. The farmers constant struggle to find regular employment and the various ways in which he tries to sustai

filmic language that is accessible to the viewer and better propagates the message.

The migration of the rural population to urban areas is an ever-increasing trend throughout the third world. This trend can be traced back to the initial colonial relationship between the colonised and coloniser throughout the third world, and the ensuing post-colonial and neo-colonial eras.

Third Cinema can also be seen to defiantly oppose the dominant Hollywood style’s misinformed representations of much of the third world, which can be seen to largely oreintalist in method and execution. Such clichéd stereotypes (re)produced by Hollywood film, it can be argued, are part of colonial discourse and draw parallels with the assumed notion that western civilisation is the pinnacle of human evolution. Western filmmaking has long regarded the third world as a monolithic entity, one that is not subject to change. Such romanticism equates in uniformed depictions of the area and helps to exert hegemonic power over the area.

Some topics in this essay:
Ibrahim Shaddad’s, Shaddad’s Human, Octavio Getino, Third World, Third Cinema, Human Being’s, , third world, third world cinema, throughout third world, throughout third, world cinema, colonial influence, third world colonialism, cinema seen, style third, filmic language, dominant hollywood, world colonialism, octavio getino,