Abstract
This article addresses John Greyson's 14.3 Seconds [2008], a video about the destruction of Iraqi film archives. This video continues the history of radical form and fabulation that characterizes Greyson's queer film/video œuvre while also engaging the provocative experimentations with archives and history that animate recent Arab visual culture. The essay argues that 14.3 Seconds and a recent video, Prison Arabic in 50 Days [2013], use redaction, translation, archives and queer aesthetics to create new possibilities for the visualization of transnational solidarity and activism.
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