Queer Looks is a collection of writing by video artists, filmmakers, and critics which explores the recent explosion of lesbian and gay independent media culture. A compelling compilation of artists' statements and critical theory, producer interviews and image-text works, this anthology demonstrates the vitality of queer artists under attack and fighting back. Each maker and writer deploys a surprising array of techniques and tactics, negotiating the difficult terrain between street pragmatism and theoretical inquiry, finding voices rich in chutzpah and subtlety. From guerilla Super-8 in Manila to AIDS video activism in New York, Queer Looks zooms in on this very queer place in media culture, revealing a wealth of strategies, a plurality of aesthetics, and an artillary of resistances. Working Round the LWord.
Mercer, Kobena 1960-
Intersectionality & New Media (Undergraduate) — Aymar Jean Christian
Sign in. Get a look at the action from the star-studded panels and check out the incredible cosplay from this year's fest. For more, check out our coverage of New York Comic Con. Browse our NYCC guide. This is an experimental documentary chronicling the March groundbreaking conference on lesbian and gay sexualities in the African diaspora. The conference brought together an array of dynamic scholars, activists and cultural workers including Essex Hemphill, Kobena Mercer, Barbara Smith, Urvashi Vaid and Jacqui Alexander to interrogate the economic, political and social situations of diasporic lesbians, gay men, bisexual and transgender peoples. The video brings together the highlights of the conference and draws connections between popular culture and contemporary black gay media production.
Kobena Mercer’s “Skin Head Sex Thing: Racial Difference and the Homoerotic Imaginary”
Blackness and Sexualities. Michelle M. Wright , Antje Schuhmann. How queer is Black studies, how racialized is queer studies? In the West, racial fantasies are often sexualized, just as sexual fantasies often rely on notions of a racial Other.
Advertise Donate Read the latest issue Newsletter. A film doesn't need to be three hours long in order to be poignant—British filmmaker Isaac Julien shows that it can be done in just 40 minutes. Recitations of poems by Essex Hemphill and Bruce Nugent frame the storyline. Julien began by explaining why he chose the Harlem Renaissance as his subject. This refusal to acknowledge Hughes' sexual identity is indicative of an oppressive attitude often aimed at members of gay black community, Julien said.