First released in 1968, it came to represent one of the most articulate voices of the western world's first supra-national revolution: the radical student, worker, and civil rights movements in Europe and the Americas which were then spilling over local and national borders with lighting speed. La Hora de los Hornas (The Hour of the Furnaces) defined itself as the first embodiment of a "Third Cinema"—a radical cinema in which group production and the politics of distribution and presentation (the film was designed to be stopped and discussed as it was being projected) took precedence over mere aesthetic concerns. If, thirty years later, it bears witness to a bygone era of utopian radicalism, it remains a central cinematic example of the marriage of aesthetics and politics at the core of avant-garde art. Part III, Violence and Liberation, considers the role and meaning of violence in political struggle, presenting an array of newsreel material, interviews, songs, poems and extracts from films by various filmmakers including Joris Ivens.