Contents -- Acknowledgements -- Introduction -- 1 Third Cinema as Critical Practice: A Case Study of The Battle of Algiers -- ONCE AGAIN, THE BATTLE OF ALGIERS -- THE BATTLE OF ALGIERS: THE CRITICAL RECEPTION -- THE BATTLE OF ALGIERS: FIRST, SECOND AND THIRD CINEMA -- 2 Precursors -- CRISIS AND REVOLT -- MODERNISM, EISENSTEIN AND VERTOV -- LUKÁCS -- BRECHT AND BENJAMIN -- 3 Dialectics of First and Third Cinema -- RELATIONS OF PRODUCTION -- COLLECTIVE PRODUCTION IN THE UK -- BOORMAN AND THE EMERALD FOREST -- JORGE SANJINÉS AND THE UKAMAU GROUP -- GUERRILLA CINEMA -- HISTORICITY -- HISTORY, HEGEL AND MARX -- A MARXIST DEFINITION OF TRAGEDY -- POLITICISATION AND COMMITMENT -- REVOLUTION AND THIRD CINEMA -- CULTURAL SPECIFICITY AND POPULAR MEMORY -- DISTRIBUTION AND EXHIBITION: CAPITAL AND THE STATE -- 4 Dialectics of Second Cinema: The Bandit -- HISTORICAL BANDITS AND CELLULOID BANDITS -- THE BANDIT AND THE GANGSTER -- THE BANDIT AND FIRST CINEMA -- THE BANDIT AND SECOND CINEMA -- BANDIT QUEEN -- 5 Dialectics of Third Cinema -- A PHILOSOPHY OF MEMORY -- CULTURAL IMPERIALISM -- POSTCOLONIAL THEORY: MEANS AND ENDS -- CONTEXTUALISING 'TOWARDS A THIRD CINEMA' -- ON THE ROLE OF THE INTELLECTUAL -- THE NATIONAL QUESTION -- FICTION AND DOCUMENTARY -- THE DIALOGIC TEXT -- ALLEGORY AND SATIRE -- GENERIC TRANSFORMATIONS: THE MUSICAL -- THE VIEWER'S DIALECTIC -- CUBA AND THE ELEPHANT AND THE BICYCLE -- Bibliography -- Index.