English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Tools annual

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools monthly

Global: Zendy Plus monthly

Presents the access of premium content as premium feature

Premium Content

Global: Zendy Plus annual

Global: Zendy Free Plan

This paper discusses two fictional films —  Inxeba (The Wound)  (2017) and  Rafiki  (2018) — as forms of queer representation within the nascent field of queer African cinema. My analysis situates the films within discourses of globalisation with a specific interest on how theories of mobility in the contemporary global imaginary manifest themselves in African queer cinema. I argue that the two productions demonstrate possibilities of queer mobility in efforts to create space for the queer in African heteronormative societies. Through the metaphorical implications of various forms of mobility represented in the two films, the producers manifest means of attaining queer agency by interrogating notions of static and monolithic traditional African cultures, which have been multiply disrupted by modernity and cultural exchanges. These two films carry positive queer themes through either celebrating queerness or exposing the vulnerability of African queer lives in order to solicit empathy and highlight the impact of marginalisation, while exploring prospects for queer futurity.

Lives in Motion: Theorising Mobility in Contemporary Queer African Cinema