Sexual Cultures. Queer Times, Black Futures / / Kara Keeling.

• Superior document: Title is part of eBook package: De Gruyter New York University Press Complete eBook-Package 2019
• VerfasserIn: Keeling, Kara,
• Place / Publishing House: New York, NY : : New York University Press, , [2019]; ©2019
• Year of Publication: 2019
• Language: English
• Series: Sexual Cultures ; 30
• Physical Description: 1 online resource
• Other title: Frontmatter --; Contents --; Preface: Another Litany for Survival --; Introduction: Black Futures and the Queer Times of Life: Finance, Flesh, and the Imagination --; Interregnum: The Unaccountable Bartleby --; 1 “It’s after the End of the World (Don’t You Know That Yet?)” --; 2 Yet Still --; Interlude The Sonic Bartleby --; 3 Black Cinema and Questions Concerning Film/Media/Technology --; 4 “Corporate Cannibal” --; Intercession The De- American Bartleby --; 5 “World Galaxy” --; Acknowledgments --; Notes --; Index --; About the author
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9781479841998; 9783110722727
• DOI: 10.18574/nyu/9780814748329.001.0001
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: Kara Keeling.

A profound intellectual engagement with Afrofuturism and the philosophical questions of space and time Queer Times, Black Futures considers the promises and pitfalls of imagination, technology, futurity, and liberation as they have persisted in and through racial capitalism. Kara Keeling explores how the speculative fictions of cinema, music, and literature that center black existence provide scenarios wherein we might imagine alternative worlds, queer and otherwise. In doing so, Keeling offers a sustained meditation on contemporary investments in futurity, speculation, and technology, paying particular attention to their significance to queer and black freedom.Keeling reads selected works, such as Sun Ra’s 1972 film Space is the Place and the 2005 film The Aggressives, to juxtapose the Afrofuturist tradition of speculative imagination with the similar “speculations” of corporate and financial institutions. In connecting a queer, cinematic reordering of time with the new possibilities technology offers, Keeling thinks with and through a vibrant conception of the imagination as a gateway to queer times and black futures, and the previously unimagined spaces that they can conjure.