It is precisely through the indeterminate nature of history that resistance becomes possible and politics refuses any guarantees and remains open.

What many commentators have missed in the ongoing attack on Edward Snowden is not that he uncovered information that made clear how corrupt and intrusive the American government has become - how willing it is to engage in vast crimes against the American public.

There is a need for educators, young people, artists and other cultural workers to develop an educative politics in which people can address the historical, structural and ideological conditions at the core of the violence being waged by the corporate and repressive state and to make clear that government under the dictatorship of market sovereignty and power is no longer responsive to the most basic needs of young people - or most people for that matter.

Cinema is consistently making a claim to particular memories, histories, ways of life, identities, and values that always presuppose some notion of difference, community, and the future. Given that films both reflect and shape public culture, they cannot be defined exclusively through a notion of artistic freedom and autonomy that removes them from any form of critical accountability.

That generation really has to fight for a new political language, social movements, and alliances with students from other countries. They have to convince labor, parents, and the general public that the fight over higher education is a fight that benefits everyone in a sustainable democracy and not just faculty and students.

Collective freedom provides the basic conditions for people to narrate their own lives, hold power accountable, and embrace a capacious notion of human dignity.

As young people make diverse claims on the promise of a radical democracy, articulating what a fair and just world might be, they are increasingly met with forms of physical, ideological and structural violence.