Political cinema, in the narrow sense, refers to cinema products that portray events or social conditions, either current or historical, through a partisan perspective, with the intent of informing or agitating the spectator. Political cinema exists in different forms, such as documentaries, short films, feature films, experimental films, and even animated cartoons. Concept In the narrow sense of the term, political cinema refers to films that do not hide their political stance. In this sense, they differ from other films not because they are political, but because of the way in which their politics is presented. As such, a film does not necessarily have to be pure propaganda to be considered 'political cinema'. The broader meaning of 'political cinema' is argued to be that "all films are political;" even films that are ostensibly 'apolitical' and escapist, merely promising 'entertainment' as an escape from everyday life, can be understood as fulfilling a political function. The authorities in Nazi Germany, for instance, knew this very well and organized a large production of deliberately escapist films. In other 'entertainment' films, such as westerns, the ideological bias is evident in the distortion of historical reality. A "classical" western would rarely portray black cowboys, although there were a great many of them in the American frontier. Hollywood cinema, which can be understood as the dominant industry of cinema, was often accused of misrepresenting black, female, gay, and working-class people. More fundamentally, not only are the contents of individual films political, but the institution of cinema itself can also be taken as political as well. A huge number of people congregate, not to act together or to talk to each other, but to sit silently, after having paid for it, to be spectators separated from each other. Guy Debord, a critic of the 'society of the spectacle', for whom "separation is the alpha and omega of the spectacle," was therefore also violently opposed to cinema, even though he would make several films portraying his ideas. In order to differentiate between the narrow and broad notions of 'political cinema', film scholar Ewa Mazierska suggested to divide all such films into the categories of conformist or oppositional and marked or unmarked: Conformist films "accept the political status quo;" while oppositional films reject it. Marked political films are willing to reveal to their viewers the party/ideology "they serve"; while unmarked films prefer to hide it. From this point of