Sunit Singh
DER BAADER-MEINHOF KOMPLEX (2008) dramatizes the violence that the Leftist group the Rote Armee Fraktion ("Red Army Faction" [RAF] aka the Baader-Meinhof) wreaked across West German cities in the 1970s. The film documents, or, rather, reenacts their streak of violence that started with petty vandalism against storefronts in Frankfurt but that soon escalated into more serious acts.
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In its May 2008 issue, the most commercially successful art criticism publication, Artforum, dedicated its pages to the commemoration of the fortieth anniversary of May 1968. The publication presented contributions by many of the leading figures in contemporary critical theory, all of whom have a distinctive sense of indebtedness to that brief period four decades ago, dubbed by Herbert Marcuse as the “Great Refusal.”
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Persepolis is a film that does not take itself seriously enough. This is not a comment on the unadorned animation style. Nor am I referring to the narrative of the protagonist: a story of a girl raised in a left-wing milieu that succeeds in arousing quite a bit of empathy in the audience. It is the film’s treatment of depoliticization as a fait accompli and its persistent retreat to the safety of the personal that make it a fascinating symptom of politics today. Read politically, Persepolis is a trenchant, if unreflective, look into the fate of contemporary political life.
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A new chapter of Students for a Democratic Society (SDS) was formed in February at the University of Chicago (UChicago) in tandem with chapters forming throughout the city and across the country. The new SDS is a national student organization dedicated to progressive political change, whose name was borrowed from the famous New Left organization that helped to shape the social unrest of the 1960s.
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The well attended event was held inside of the new auditorium housed in the recently buit expansion of the Spertus Insitute on Michigan avenue. The talk addressed the political character of Iran after the Islamic Revolution of 1978–79.
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