While much contemporary cinematic discourse has yet to move beyond the French New Wave (and, to a somewhat lesser extent, Italian film from the same period), an incredibly vibrant and complex collective of cinematic and transdisciplinary enunciation from the late sixites has gone relatively underexplored.
Emerging out of the Cuban jouran Tricontinental, and in conjunction with OSPAAAL (Organization of Solidarity with the People of Asia, Africa, and Latin America), Third Cinema or Tricontinentalist Cinema was an attempt to aesthetically intervene by way of counter-cartographies: neither the heroic Hollywod model nor the post-New Wave auterist model were thought to be sufficient in terms of viewing postcolonial desire and melancholia.
In addition to films, OSPAAAL was widely known for it's striking iconographic work in multilingual posters, an archive of which can be found here: http://www.docspopuli.org/CubaWebCat/gallery-01.html
The Third Cinema manifesto written by Cuban film theorists Fernando Solanas and Octavio Getino can be found here: http://www.documentaryisneverneutral.com/words/camasgun.html
More information on the tumultuous history of the Tricontinentalist solidarity movement (including information on the mysterious assassination of its to-be leader, Medhi Ben Barka) can be found here: http://en.wikipedia.org/wiki/Tricontinental_Conference