Bogdan Popa
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In Chapter 6, I claim that sensuous material objects from socialism constitute important starting points for rearticulating the notion of materiality in queer theory. I read Marxist films in conversation with the work of José Esteban Muñoz and Fred Moten’s, and the purpose of this conversation is to investigate the role of objects that were imagined to abolish the domination of private property. In a queer of color analysis, practices such as counterfetishes are “potentialities” that have the goal of generating a new utopian imagination. To underscore a historical process of abandoning a Marxist materialist epistemology, I concentrate my analysis on the role of counterfetishes in the Romanian socialist film The Cruise.

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De-centering queer theory

Communist sexuality in the flow during and after the Cold War


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