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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Research Article| December 01 2009
Why Do Some Images Begin to Tremble? Cinema Revisits Militant Politics
Film Quarterly (2009) 63 (2): 23–30.
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Nina Power; Why Do Some Images Begin to Tremble? Cinema Revisits Militant Politics. Film Quarterly 1 December 2009; 63 (2): 23–30. doi: https://doi.org/10.1525/FQ.2009.63.2.23
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