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The ''Grupo Cine Liberación'' ("The Liberation Film Group") was an Argentine film movement that took place during the end of the 1960s. It was founded by Fernando Solanas, Octavio Getino and Gerardo Vallejo (1942–2007). The ''Grupo Cine Liberación'' became linked to the Peronist Left, and in later years, other films directors (''grupo Realizadores de Mayo'', Enrique and Nemesio Juárez, Pablo Szir, etc.) revolved around this activist core.〔(Muere Gerardo Vallejo, fundador de Grupo Cine Liberación ), ''Noticias de Cine Social'', 8 February 2007 〕〔(Gerardo Vallejo, emblema del cine militante de los ‘60 y ‘70 ), ''Pagina 12'', 7 February 2007 〕 Along with Raymundo Gleyzer's ''Cine de la Base'' in Argentina, the Brazilian ''Cinema Novo'', the Cuban revolutionary cinema and the Bolivian film director Jorge Sanjinés, the ''Grupo Cine Liberación'' was part of the ''Tercer Cine'' movement.〔Oscar Ranzani, (La revolución es un sueño eterno ), ''Pagina 12'', 20 October 2004 〕 The name of ''Tercer Cine'' (or Third Film, in an obvious allusion to the Third World) was explicitly opposed to "First World" cinema, that is, Hollywood, and was also contrasted with auteur film, deciding to engage itself more explicitly in the social and political movements.〔 From his exile in Francoist Spain, Juan Peron sent in 1971 two letters to Octavio Getino, one congratulating him for this work of liberation, and another concerning two documentaries that were to be done with him (''La Revolución Justicialista'' and ''Actualización política y doctrinaria'').〔 The graphist Raimundo Ongaro, also founder of the ''CGT de los Argentinos'' (CGTA) trade-union, was also close to this movement. == Theory and practice == One of the principles of the ''Grupo Cine Liberación'' was to produce anonymous films, in an endeavour to favorite collective creation processes, to create a collective discourse, and also to protect themselves from political repression. According to Lucio Mufud, the collective authorship movement of the 1960s and 1970s was "among other things, about erasing any authorial mark. It concerned itself, on the one hand, with protecting the militant creators from state repression. But it was also about having their voice coincide with the 'voice of the people.'〔Lucio Mufud, (Un llamado a transformar la realidad ), ''Pagina 12, 25 August 2007 〕" Another similar group included the ''Grupo Cine de la Base'' (The Base Film Group), which included the film director Raymundo Gleyzer, who produced ''Los Traidores'' (The Traitors, 1973), and was later "disappeared" during the dictatorship.〔 Both ''Grupo Cine Liberación'' and ''Grupo Cine de la Base'' were especially concerned with Latin American integration, neo-colonialism and advocated the use of violence as one of the alternative possible means against hegemonic power.〔 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Grupo Cine Liberación」の詳細全文を読む スポンサード リンク
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