Revolution in 35mm : political violence and resistance in cinema from the Arthouse to the Grindhouse, 1960-1990 / edited by Andrew Nette and Samm Deighan.

Includes index.

Introduction: A cinema of resistance on the margins / Samm Deighan and Andrew Nette -- Gillo Pontecorvo's battle of ideas / Andrew Nette -- Youssef Chahine and Egyptian neorealism / Samm Deighan -- Ousmane Sembène and the birth of African cinema / Samm Deighan -- Sarah Maldoror's pan-African cinema of liberation / Samm Deighan -- Jean-Luc Godard in the 1960s / Samm Deighan -- Ghosts and weeds : what is and isn't in Costa Gavras's "Z" / Christos Tsiolkas -- "Don't buy bread... buy dynamite!" : Franco Solinas and the Zapata spaghetti westerns / Lee Broughton -- The films of Elio Petri and Gian Maria Volonté / Samm Deighan -- "Are you asking us to investigate or overthrow the government?" : political conspiracy and violence in Italian "poliziotteschi" cinema / Andrew Nette -- "Nada" ("The nada gang," 1974), Claude Chabrol, France-Italy / Andrew Nette -- "7 días de enero" ("Seven days in January," 1979), Juan Antonio Bardem, Spain / Andrew Nette -- The Red Army faction : radical violence in West German cinema in the 1970s / Samm Deighan -- "Plastic Jesus" in the land of the partisans : the Black wave and the subversion of the socialist Yugoslavian national mythos / Matthew Kowalski -- "Diabeł" ("The Devil," 1972), Andrzej Żuławski, Poland / Samm Deighan -- "Idi i smotri" ("Come and see," 1985), Elem Klimov, Soviet Union / Samm Deighan -- Cruel stories of youth : Japanese leftist politics from the New Wave to the pink film / Samm Deighan -- "Di yi lei xing wei xian" ("Dangerous encounters of the first kind," 1981), Tsui Hark, Hong Kong / Charles Perks -- The reluctant gangster in Hindi cinema / Uday Bhatia -- The revolutionary melodrama of Lino Brocka / Andrew Nette -- Two sides of cinema novo : Glauber Rocha and José Mojica Marins / Scott Adlerberg -- "Yawar mallku" ("Blood of the condor," 1969), Jorge Sanjinés, Bolivia / Andrew Nette -- Argentina : new cinema and dirty war / Andrew Nette -- "Latino" (1985), Haskell Wexler, United States / Andrew Nette -- Bread and circuses : Peter Watkins and hunting humans on-screen / Mike White -- Revolution as a creative act in the films of Lindsay Anderson / Samm Deighan -- The whole world is watching : campus revolt on-screen / Kimberley Lindbergs -- "Ice" (1970), Robert Kramer, United States / Andrew Nette -- Louder than a bomb : on "The spook who sat by the door" / Michael A. Gonzales -- Occupation "urban guerrilla" : the cinema of Patty Hearst / Andrew Nette -- America the beautiful, America the violent : documenting America's decline in the mondo film / Robert Skvarla -- Thrill-seeking females : the "SCUM Manifesto" ideology of the "girl gang" rape-revenge film / Annie Rose Malamet -- "Look where you're going, cunt" : political violence in feminist cinema of the late Second Wave / Emma Westwood -- "Maeve" (1981), Pat Murphy, Northern Ireland / Andrew Nette -- "On guard" (1984), Susan Lambert, Australia / Andrew Nette.

"'Revolution in 35mm' examines how political violence and resistance were represented in arthouse and cult films from 1960 to 1990. This period spans the Algerian war of independence and the early wave of postcolonial struggles that reshaped the Global South through the collapse of Soviet Communism in the 1980s. It focuses on films related to the rise of protest movements by students, workers, and leftist groups, as well as broader countercultural movements, Black Power, the rise of feminism, and beyond. The book also includes films that portrayed splinter groups that engaged in violent, urban guerrilla struggles throughout the 1970s and 1980s. Fourteen authors deliver a diverse examination of how filmmakers around the world reacted to the political violence and resistance movements of the period and how this was expressed on-screen. This includes looking at the production, distribution, and screening of these films, audience and critical reaction, the attempted censorship or suppression of much of this work, and how directors and producers eluded these restrictions"--Page 4 of cover.