Frantz Fanon, in his attempts to identify the revolutionary impulse in the peasant of the Third World, accepted that culture is an act of insemination upon history, whose product is liberation from oppression.1 In my search for a methodological device for a critical inquiry into Third World fIlms, I have drawn upon the historical works of this ardent proponent of liberation, whose analysis of the steps of the genealogy of Third World culture can also be used as a critical framework for the study of Third World films. This essay is, therefore, divided into two parts and

focuses on those essential qualities Third World films possess rather than those they m~y seem to lack. The first part lays the formulation for Third World film culture and filmic institutions based on a critical and theoretical matrix applicable to Third World needs. The second part is an attempt to give material substance to the analytic constructs discussed previously.