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This paper deals with feminist cultural politics, nomadic thought and media activism. It combines theoretical insights from Gilles Deleuze's philosophy with Riot Grrrl bands and women's punk music. The paper explores two central aspects of the Pussy Riot's performances: the visual and the musical. The visual includes an analysis of "the face" as a landscape of both power and resistance and discusses also the function of the mask as a cultural and political device. It then highlights the role of iconic images like Queen Beatrix, Angela Davies, the Guerrilla Girls and others in popular culture. The musical component includes Janis Joplin, the ultimate Riot Grrrl band Bikini Kill, Nina Hagen and, of course, Pussy Riot. Embodying the slogan "If I can't dance, I don't want to be part of your revolution" the paper argues for an affirmative and creative approach to feminist theory and practice and to contemporary cultural politics.

This article explores the gendered subtext of film criticism that both praises and vilifies Gillo Pontecorvo's Bataille d'Alger. The female characters play a prominent role in the film's action, and, in particular, the women's roles underscore the film's ideological emphasis on anti-colonialism, as well as the need for personal and political independence. In analyzing film critique from the last forty-five years, from the original release in France to contemporary screenings, this article demonstrates how the critics' views of female characters as participants in irregular war are central to their overall reactions to the film. Whether they love or hate the film, it is the critics' views of the female characters that judge the film as a complete artistic piece.