Bogdan Popa
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In Chapter 5, I argue that abolitionist ideas are key to both Stalinist art and a queer of color analytic. I claim that Stalinist art is a refusal of capitalist codes of gender and sexuality according to a global Anglo-American imagination. In rearticulating an abolitionist imagination of capitalism, socialist films can generate a new imagination of the future. I identify common themes between Boris Groys and José Esteban Muñoz’s theories: if socialist realist artworks function like a contemporary avant-garde, not unlike queer performances of color, they can help de-naturalize the normative performances of the body. I show that the Romanian realist socialist film The Valley Resounds offers a surprising archive regarding the meaning of sexuality that has been buried under the umbrella of Stalinism.

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De-centering queer theory

Communist sexuality in the flow during and after the Cold War


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