Abstract

Following Zizek's insight that the blockbuster can constitute the ideal terrain for mapping out the ideological and political dilemmas of our conjuncture, this piece takes a Zizekian look awry at two recent depictions of revolutionary crowds/movements in "The Dark Knight Rises" and "Argo". Viewed through the genealogical lens of representations of the “people” in philosophy and literature, what we find in both films is a (distorted, dispersed) staging not only of our own time and situation, a strange figuration of capital and an ultimately justified revolutionary struggle over the city (or, surplus)