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引用次数: 1
摘要
摘要：本文探讨了巴里·詹金斯（Barry Jenkins）的电影《月光》（Moonlight）（2016）和塔雷尔·阿尔文·麦克拉尼（Tarell Alvin McCraney）的戏剧《合唱团男孩》（Choir Boy）（2012）中的触摸和触觉时刻，以重新塑造现代性下黑人母性与黑人男子气概之间的关系。借鉴当代黑人女权主义理论，我将电影和戏剧中的触摸和拥抱时刻分析为历史另类感觉的生成。我展示了黑人酷儿的触觉表现是如何超越Hortense Spillers在参议员Daniel Patrick Moynihan 1965年关于黑人家庭的报告后提出的被俘虏的表征逻辑的。
Sensing History’s Hold: Touch and Black Queer Representation after Moynihan
Abstract:This essay explores moments of touch and haptic sensation in Barry Jenkins’s film Moonlight (2016) and Tarell Alvin McCraney’s play Choir Boy (2012) to refigure the relations between black maternity and black masculinity under modernity. Drawing from contemporary black feminist theory, I analyze moments of touching and holding in the film and play as generative of alternative sensations of history. I demonstrate how black queer performances of touch exceed the captive representational logics theorized by Hortense Spillers in the wake of Senator Daniel Patrick Moynihan’s 1965 report on the black family.
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