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Film Theories
The purpose of the paper is to explore the essence of films as well as provide framework for understanding film production. Film production and creativity differ throughout the world, particularly the western ones and those of the third world countries. Most of the developing countries’ films centre message on decolonization of culture as well as the struggle for freedom. The document provides critic on cinema production especially in the developing nations through evaluation and analysis of their films. Also, there are changes to be adapted towards attaining the world’s best film production. The document addresses the common mistakes committed by filmmakers especially in the developing countries as well as the remedies to these problems. The central theme is analysis and evaluation of films and film production.
For instance, western countries’ films are based on perceived situations rather than the real ones. However, the films portray images which are overwhelmed in isolating fashion and consciousness of the viewers. The actors in the movies perform their roles with enthusiasm to reveal the character intended by the film producer (Ram & Miller, 2000). Most of these movies are based on Africa racial discrimination as well as the blacks in general (Ram & Miller, 2000). They portray the stereotypes of Africans as slaves, quiet, obedient as well as weak people who do not know their rights in the society. The western movies category often depicts the subjugation of the wilderness as well as the demotion of nature (Ram & Miller, 2000). They also reveal confiscation and civilization of territorial freedom of the citizens.
Prominently, developing nation’s movies are based on domination to liberation themes, traditions as well as decolonization of culture. Actors perform as if they are in real life situations and therefore creating non-linearity of actions. The films are heterogeneously established through employing narratives as well as moving from fiction to reality (Minh-ha & Willemen, 1989). Also, there is no creativity portrayed in film production since most of the movies highlight extreme life situations and experiences. Similarly, movies only mirror society’s status quo, and most themes are primarily indigenized (Minh-ha & Willemen, 1989). They lack imagination in designing and therefore are open to elaboration. However, ideas depend on an appeal to political and social struggle established on traditional beliefs. Moreover, the films are accompanied with too much graphics, hence creating room for repetition of images (Minh-ha & Willemen, 1989). Initially, Third World Cinemas were identified with the theme of state freedom.
In summary, I agree that the change of third world filmmaking is embracing modern film creation. Change is inevitable, and therefore, these countries ought to modify the themes, styles, and the way of acting as well as coming up with a good cinema. For instance, movies in future should have topics in the value of education as well as socio-economic elements as they are the trending issues all over the world. However, there is need to preserve culture in the development of films. Besides, there is a necessity for Africans to adopt changes in creativity as well as the graphic presentation of films. While shooting, multiple cameras may be used to get a multivariate angle location of images. On the same note, Western nations ought to change their perception on people of different race and nationality. In a nut shell, filmmakers from the developing countries ought to adapt changes in film production.
Trinh T. Minh-ha Pines.  (1989). Outside in inside out. In Pine, J. & Willemen, P. (Eds.). Questions of a third cinema. London: British Film Institute.
Ram, S. & Miller, T. (2000). Film and theory: AnaAnthology. Malen Ma. Oxford: Blackwell Publishing.

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