Abstract
“Of Love and Longing” seeks to visualize Elizabeth Freeman’s claim that “a bodily motion (a grasp, a clutch, a refusal to let go) might have something to do with knowing and making history” (Freeman xx). Editing together images from Wong Kar-Wai’s In the Mood for Love (2000), and from a trio of contemporary melodramas dealing with the queer experience of history – A Single Man (Ford, 2009), Carol (Hayes, 2015), and Moonlight (Jenkins, 2016) – it emphasizes the way that the bodily motions of touch mobilize longing in history.
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