Embodiments of love on the margins of Windhoek's cinematic landscape

Bibliographic Data

ID3609817
AuthorsNashilongweshipwe Mushaandja (0000-0002-1524-9082, University of Cape Town, corresponding author)
Year2021
Volume47
Issue1
Pages100-117
Publication date2021-01-02
Peer ReviewedYes
Open AccessNo
TypeARTICLE
VenueSocial Dynamics (JOURNAL)
Journal identifiersISSN: 0253-3952 • E-ISSN: 1940-7874
PublisherInforma UK Limited (PUBLISHER • GB)
DOI10.1080/02533952.2021.1899735
OpenAlexW3140655557
LanguageEN
Citations received1
References cited9

In thinking of alternative and undisciplined cinematic forms, I look at the margins and cracks of Windhoek’s cinematic landscape to map and read content that shows critical thought and radical politics. I reference video documentation work by artists and activists Tuli Mekondjo, JuliArt, Neige Moongo, Tangeni Kauzuu and the Decolonising Space Group, most of which is available online. I read their works as acts and embodiments of love because of how they are politically situated. I refer to bell hooks’s idea of the margin as a site of resistance to explain how these works are not only situated on the peripheries of Windhoek’s public imagination but also have the power to mobilise radical politics and critical engagement in and about the city. The article responds to the backdrop of a dominant mainstream film industry which is restricting in terms of form and structure. It also highlights the dangers of heteronormative and nationalist thinking which dominates local film content, misrepresenting bodies on the margins of the city

Aesthetics · Art · Geography · Sociology · African history and culture studies · African Sexualities and LGBTQ+ Issues · African studies and sociopolitical issues

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