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Only intellectuals were likely to be sufficiently moved by Sergei Eisenstein’s depiction of Odessa in the Battleship Potemkin to translate their aesthetic appreciation into political affinity; but everyone—intellectuals included—could appreciate Humphrey Bogart.
We should not be misled by Che Guevara’s remarkable after-life as the martyred, Christ-like poster-boy for disaffected Western adolescents: the European Sixties were always Eurocentric.