This paper explores the ways in which Super 8 entered the discussion on Third Cinema at a global level, whether through individual or collective experiences of production, theoretical interventions in print media, training workshops or transnational federative organizations. Based on diverse documentary and hemerographic sources, as well as archives and personal interviews, I argue that, between the key years of 1968 and 1989, Super 8 played an integral role in the history of these counter-hegemonic political cinemas that allows us to understand the shift from the revolutionary impulse of the 1970s to the humanitarianism of the 1980s. To this end, I will first situate the dis-cussion on Third Cinema and minor technologies, looking at the ways in which Super 8 brought into play the differences between professional and amateur practices. I then proceed to trace some possible routes for a global cartography of Third Cinema in Super 8, based on the agents, films and projects that participated in the Third World Super 8 Cinema Encounters, a series of roundtables and screenings held under the auspices of the International Federation of Super 8 Cinema.
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