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.
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© 2009 by the Regents of the University of California.
2009
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University of California Press