Camera as Kalashnikov is a written thesis that explores the films of the Palestinian revolution between 1968 and 1982, with a particular focus on films by the Palestine Film Unit (PFU). The thesis investigates what the visual aesthetics of armed resistance in the films tell us about the political ideology of the revolution. It approaches the films within two primary contexts: the regional and global efforts to displace, disarm, and pacify the Palestinian resistance after the 1967 Naksa, and its exilic condition in Jordan and Lebanon. Through close readings of selected scenes, Camera as Kalashnikov is inspired by the films’ visual materiality to explore the recurrent figure of the Kalashnikov as a complex device that links the filmic struggle for self-representation with the militant struggle for liberation in exile.