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This book aims to redefine the relationship between film and revolution. Starting with Hannah Arendts thoughts on the American and French Revolution, it argues that, from a theoretical perspective, revolutions can be understood as describing a relationship between time and movement and that ultimately the spectators and not the actors in a revolution decide its outcome. Focusing on the concepts of time, movement, and spectators, this study develops an understanding of film not as a medium of agitation but as a way of thinking that relates to the idea of historicity that opened up with the American and French Revolution, a way of thinking that can expand our very notion of revolution. The book explores this expansion through an analysis of three audiovisual stagings of revolution: Abel Gances epic on the French Revolution<em>Napoléon</em>, Warren Beattys essay on the Russian Revolution<em>Reds</em>, and the miniseries<em>John Adams</em> about the American Revolution. The author thereby offers a fresh take on the questions of revolution and historicity from the perspective of film studies.