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The final chapter addresses queer cinematic temporality, making the case that the disjunctures of queer history and subjectivity can be read in film form and style. This chapter outlines the queerly temporal trajectories of contemporary world cinema, analyzing excision and anachronism, slowness and boredom, asynchrony and reproduction. It studies a wide range of international art cinema and considers slow cinema and radical activist work. It addresses the aesthetics of bootlegging, YouTube and excisions from censorship, and their significance for international queer film style. By insisting on the cinematicity of queer time, it rethinks the relationship between form and politics in queer theory and contemporary world cinema.

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