...Darius Bost This essay discusses Isaac Julien's film Looking for Langston alongside 1980s Black British political culture, in which visual culture played a significant part. Focusing on the role of the image in that time and place, the article reads the embodied performances of waiting, use...

...: Alyson, 1991 . hooks , bell . “States of Desire: Isaac Julien in conversation with bell hooks.” Diary of a Young Soul Rebel . Ed. Julien, Isaac, and Colin McCabe. London: BFI, 1991 . 125 -40. Jordan , L. Lloyd “Black Gay vs. Gay Black.” BLK 6 ( 1990 ): 25 -30. Knapper , Karl...

... independent film had arrived. There began a momentum that would crest the following year, back in Park City’s Sundance Film Festival again, with a prize to Tom Kalin’s Swoon and special screenings of Derek Jarman’s Edward ZZ, Isaac Julien’s Young Soul Rebels, Christopher Munch’s The Hours and Times...

.... For if “poetry from the future” remains a viable formulation of what is required to effect a radical break with the past — a rupture from within history that also breaks from history — then three very different films,Looking for Langs- ton (dir. Isaac Julien; 1989), Brother to Brother...

... interventions like those I discuss here, hope that there might be. Notes 1. In a discussion about black characters in pornographic comics, Darieck Scott cites the filmmaker Isaac Julien: “In fact in this Western culture we have all grown up as snow queens — straights...

..., seated, hugging his knees (see fig. 4), echoes Mapplethorpe’s “Ajito 1981.” When Kobena Mercer and Isaac Julien first wrote about Mapplethorpe, they argued that Mapplethorpe fetishized stereotypic rep- resentations of black men.38 Mapplethorpe’s images of nude black men posit an “essential truth...

..., I'll turn to the work of Sir Isaac Julien to further illustrate the need to shift from the moving image to queer aesthetics, particularly as his work relates to changes in media form alongside shifts in liberal governance; tensions across the representation of the subject and subjectless critique...

... recently, see Dwight McBride, “Can the Queen Speak? Racial Essen- tialism, Sexuality, and the Problem of Authority,” Callaloo 21 (1998): 363–79. And see especially Isaac Julien, Looking for Langston, Sanofka Collective, 1989. This movie...

... or queer cinema, I find myself a doubt- ing Thomas. “If we were told that black gay filmmakers Marlon Riggs or Isaac Julien, not Tarantino, had written, directed, and produced Pulp Fiction,” she asks, “would this film have produced different reads?” (103). This question can be considered now...

..., but when Stockton repeatedly compares its inter- racial rape scene to gay male pornography or queer cinema, I find myself a doubt- ing Thomas. “If we were told that black gay filmmakers Marlon Riggs or Isaac Julien, not Tarantino, had written, directed, and produced Pulp Fiction,” she asks, “would...

... repeatedly compares its inter- racial rape scene to gay male pornography or queer cinema, I find myself a doubt- ing Thomas. “If we were told that black gay filmmakers Marlon Riggs or Isaac Julien, not Tarantino, had written, directed, and produced Pulp Fiction,” she asks, “would this film have...

... repeatedly compares its inter- racial rape scene to gay male pornography or queer cinema, I find myself a doubt- ing Thomas. “If we were told that black gay filmmakers Marlon Riggs or Isaac Julien, not Tarantino, had written, directed, and produced Pulp Fiction,” she asks, “would this film have...

... or queer cinema, I find myself a doubt- ing Thomas. “If we were told that black gay filmmakers Marlon Riggs or Isaac Julien, not Tarantino, had written, directed, and produced Pulp Fiction,” she asks, “would this film have produced different reads?” (103). This question can be considered now...

... In the words of the black gay British filmmaker Isaac Julien, “You’re walking through the debris of Genet and others. You’ve learned those theories in your absence, that is, they don’t talk about black identity.”47 While I question Julien’s seeming inability to question...

... Watermelon Woman ( 1996 ), Richard Fung's Dirty Laundry ( 1996 ), and Isaac Julien's Looking for Langston ( 1989 ) are but three examples—questions of land, nation, and sovereignty have not figured anywhere near as prominently as they have for their Indigenous counterparts. It is these tensions between...

... musclemen as a way to keep his queer imaginary alive amid the loneliness and despair of incarceration. Recalling Isaac Julien’s film Looking for Langston and Richard Fung’s essay “Looking for My Penis: The Eroticized Asian in Gay Video Porn,” my video combines archival materials, popular media...

... and Isaac Julien have critiqued as the anthropological and pornographic objecti cation of the black male body (Mercer 1997; Mercer and Julien 1994). The defense of Mapplethorpe as multicultural icon, then, exempli- es how, in Melamed s (2011: 88) words, the word multicultural itself signi es as antiracist...

... Fung, “Looking for My Penis: The Eroticized Asian in Gay Porn Video,” in How Do I Look? Queer Film and Video, ed. Bad Object-Choices [Seattle: Bay, 1991], 145–68). See also Kobena Mercer and Isaac Julien, “Race, Sex- ual Politics, and Black Masculinity: A Dossier...

... and the video triptychs of Isaac Julien came to mind, both examples produced in fine art, avant-garde contexts better capitalized than the scenes in which short films are produced. Likewise, such no-budget examples as the wrenching and underlit childhood drag scene from Tarnation (shot on Super 8...

..., and police attacked people who shouted Pride slogans as they dispersed. 11. In Isaac Julien s 1995 film Frantz Fanon: Black Mask White Skin, Stuart Hall talks about Fanon s experience in Paris in similar terms, stressing the sexualized nature of the look : Looking always involves desire. There s always...