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Why Do Some Images Begin to Tremble? Cinema Revisits Militant Politics
Vol. 63, No. 2 (Winter 2009), pp. 23-30
Published by: University of California Press
Stable URL: http://www.jstor.org/stable/10.1525/fq.2009.63.2.23
Page Count: 8
You can always find the topics here!Topics: Movies, Political power, Political violence, Political protests, Spectacle, Political extremism, Documentary films, Film editing, Labor protests, Violence
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This essay discusses three films which in different ways reflect on left-wing militancy in the late 1960s and 70s—Uli Edel's The Baader Meinhof Complex, Chris Marker's reissued A Grin Without a Cat, Barbet Schroeder's Terror's Advocate—and argues that Marker's is the most insightful.
Film Quarterly © 2009 University of California Press