13 P. Adams Sitney, Visionary Film: The American Avant-Garde (New York: Oxford
University Press, 2002), p. 76.
14 J. Broughton, Coming Unbuttoned (San Francisco: City Lights, 1993), p. 101.
15 Ibid., p. 102.
16 State University of New York, Poetry Collection, Robert Duncan Papers, 17
August 1951, James Broughton to Jess.
17 Poetry Collection, State University of New York, Robert Duncan Papers, 6
August 1951, James Broughton to Robert Duncan and Jess.
18 L. Anderson, ‘A Possible Solution’, Sequence, 3 (Spring 1948); ‘BritishCinema: The Descending
appeal, exoticism without
miscegenation; instead, tender melodies are played on the piano in a homely
setting. Hai-Tang’s lover is her brotherly friend, he watches her dancing,
alluringly undresses, but apart from that – nothing happens between them.
This is truly English.’83 Chan argues that in Britishcinema, the colonialist
logic for an ‘empire full of yellow, brown, and black people’ was based on the
‘exalted notion of its own [white] racial superiority’ – if whites cohabitated
with the colonized, the relations of power would shift and ‘a consensual
of auteurs (Kubrick, Welles, Altman) who have been
to varying degrees isolated from the mainstream of American and Britishcinema. Their challenge to the range of representational styles typically
used within Hollywood realist narrative has generally operated from the
margins of the film industry (with the exceptions of Dr Strangelove
and Altman’s M.A.S.H and The Player , these films have
not achieved widespread
: Black Film/BritishCinema,
ed. Kobena Mercer (London: Institute of Contemporary Arts, 1989) and Hall,
“Introduction: Who Needs ‘Identity’?” in Questions of Cultural Identity, eds. Stuart
Hall and Paul Du Gay (London: Sage, 1996), 1–17.
41 Hall, “New Ethnicities,” 27.
42 Golden, “What’s White …?” 35.
43 Frances M. Moran, Subject and Agency in Psychoanalysis: Which is to be Master?
(New York: New York University Press, 1993), 4.
44 Moran, Subject and Agency in Psychoanalysis, 4, 62.
45 Fred Wilson had actually arrived at his practice by working in museums
Writing queer feminist transnational South Asian art histories
Alpesh Kantilal Patel
115 This construction is perhaps best embodied in early to mid-twentieth century
Hollywood and Britishcinema actor Sabu, originally from Mysore, India,
whose penultimate role at the age of 38 was, tellingly, as a native ‘boy’ sidekick
opposite Robert Mitchum in the 1963 jungle adventure film Rampage. See
Gayatri Gopinath’s brilliant discussion of Iain Rashid’s film Surviving Sabu in
her Impossible Desires: Queer Diasporas and South Asian Public Cultures
(Durham, NC: Duke University Press, 2005), 65–77.
116 Emphasis mine. Andreas Huyssen, Present Pasts