V.I. Lenin called cinema the most important art because of its power to persuade. And in fact, cinema has played a key role in many of the revolutionary movements of the twentieth century, in particular for the Russian and Cuban revolutions. In this course we will examine how the cinema works as political language by introducing a variety of theoretical writings both on revolutionary politics and on political aesthetics. We will explore the boundaries between propaganda and political cinema, and we will analyze whether there is a tension between the aesthetics of modernism and the clarity purportedly necessary for effective political persuasion. As we examine how filmmakers attempt to translate revolutionary ideas into cinema, our topics will include: Italian Neorealism, the French New Wave, Brazilian Cinema Novo, and New Queer Cinema. Readings will include: Franz Fanon, Trinh T.Minh-ha, Sergei Eisenstein, Bertolt Brecht and Glauber Rocha.