Yours in Revolution: Retrofitting Carlos the Jackal

This paper explores the representation of ‘Carlos the Jackal’, the one-time ‘World’s Most Wanted Man’ and ‘International Face of Terror’ – primarily in cin-ema but also encompassing other forms of popular culture and aspects of Cold War policy-making. At the centre of the analysis is Olivier Assayas...

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Main Author: Samuel Thomas
Format: Article
Language:English
Published: Linköping University Electronic Press 2013-09-01
Series:Culture Unbound: Journal of Current Cultural Research
Subjects:
Online Access:http://dx.doi.org/10.3384/cu.2000.1525.135451
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author Samuel Thomas
author_facet Samuel Thomas
author_sort Samuel Thomas
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description This paper explores the representation of ‘Carlos the Jackal’, the one-time ‘World’s Most Wanted Man’ and ‘International Face of Terror’ – primarily in cin-ema but also encompassing other forms of popular culture and aspects of Cold War policy-making. At the centre of the analysis is Olivier Assayas’s Carlos (2010), a transnational, five and a half hour film (first screened as a TV mini-series) about the life and times of the infamous militant. Concentrating on the var-ious ways in which Assayas expresses a critical preoccupation with names and faces through complex formal composition, the project examines the play of ab-straction and embodiment that emerges from the narrativisation of terrorist vio-lence. Lastly, it seeks to engage with the hidden implications of Carlos in terms of the intertwined trajectories of formal experimentation and revolutionary politics.
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spelling doaj.art-a7808ca90c824eb5a879d3719744da012022-12-22T01:02:35ZengLinköping University Electronic PressCulture Unbound: Journal of Current Cultural Research2000-15252013-09-01545147810.3384/cu.2000.1525.135451Yours in Revolution: Retrofitting Carlos the JackalSamuel ThomasThis paper explores the representation of ‘Carlos the Jackal’, the one-time ‘World’s Most Wanted Man’ and ‘International Face of Terror’ – primarily in cin-ema but also encompassing other forms of popular culture and aspects of Cold War policy-making. At the centre of the analysis is Olivier Assayas’s Carlos (2010), a transnational, five and a half hour film (first screened as a TV mini-series) about the life and times of the infamous militant. Concentrating on the var-ious ways in which Assayas expresses a critical preoccupation with names and faces through complex formal composition, the project examines the play of ab-straction and embodiment that emerges from the narrativisation of terrorist vio-lence. Lastly, it seeks to engage with the hidden implications of Carlos in terms of the intertwined trajectories of formal experimentation and revolutionary politics.http://dx.doi.org/10.3384/cu.2000.1525.135451TerrorismCarlos the JackalnamingfacialityCold WarembodimentAssayas
spellingShingle Samuel Thomas
Yours in Revolution: Retrofitting Carlos the Jackal
Culture Unbound: Journal of Current Cultural Research
Terrorism
Carlos the Jackal
naming
faciality
Cold War
embodiment
Assayas
title Yours in Revolution: Retrofitting Carlos the Jackal
title_full Yours in Revolution: Retrofitting Carlos the Jackal
title_fullStr Yours in Revolution: Retrofitting Carlos the Jackal
title_full_unstemmed Yours in Revolution: Retrofitting Carlos the Jackal
title_short Yours in Revolution: Retrofitting Carlos the Jackal
title_sort yours in revolution retrofitting carlos the jackal
topic Terrorism
Carlos the Jackal
naming
faciality
Cold War
embodiment
Assayas
url http://dx.doi.org/10.3384/cu.2000.1525.135451
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