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Chapter 3 develops the argument that political movements are profoundly aesthetic movements that introduce new ways of looking, seeing, and being. The chapter explores how pemuda style secures youth identities and affiliations to the student movement through the circulation of forbidden leftist iconography and globalized messages of protest. By tracking the production and consumption of political fashions in the activist movement, including the popular revival of the 1960s activist Soe Hok Gie through film and media representations, the chapter shows how pemuda style merged the political goals of the present with the purified nationalist youth of the past.

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