How is the militant image to be understood at this moment in this special issue that assembles research from London, Buenos Aires, Paris, New York and Lisbon?

Expansively, capaciously, exorbitantly: the militant image comprises any form of image or sound – from essay film to fiction feature, from observational documentary to found-footage ciné-pamphlet, from newsreel to agitational reworkings of colonial film production – produced in and through film-making practices dedicated to the liberation struggles and revolutions of the late twentieth century.

This special issue on the ciné-geography of the militant image revisits the archives of these moments in order to reconstitute necessarily partial examples of the most contested and the most influential as well as the most overlooked formulations of the militant image that were proposed throughout the late 1960s and early 1970s. The former include Fernando Solanas and Octavio Getino’s notion of Third Cinema; the latter, Getino’s notion of militant cinema as an internal category of Third Cinema and Edouard de Laurot’s notion of cinéma engagé. (Kodwo Eshun and Ros Gray) Language: English