Queer African Cinemas

Abstract

Discussion| June 01 2022 Queer African Cinemas: A Conversation with Lindsey B. Green-Simms Bruno Guaraná Bruno Guaraná Bruno Guaraná is Master Lecturer of Film Studies in the Department of Film & Television at Boston University. Originally from Recife, Brazil, he received his PhD in Cinema Studies from New York University and his MA in Film from Columbia University. His current research explores negotiations of cultural citizenship in contemporary Brazilian media. He currently serves as the Page Views Editor for Film Quarterly. Search for other works by this author on: This Site PubMed Google Scholar BOOK DATA: Lindsey B. Green-Simms, Queer African Cinemas. Durham, NC: Duke University Press, 2022. $99.95 cloth; $26.95 paper. 264 pages. Film Quarterly (2022) 75 (4): 83–88. https://doi.org/10.1525/fq.2022.75.4.83 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Bruno Guaraná; Queer African Cinemas: A Conversation with Lindsey B. Green-Simms. Film Quarterly 1 June 2022; 75 (4): 83–88. doi: https://doi.org/10.1525/fq.2022.75.4.83 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentFilm Quarterly Search BOOK DATA: Lindsey B. Green-Simms, Queer African Cinemas. Durham, NC: Duke University Press, 2022. $99.95 cloth; $26.95 paper. 264 pages. The first romantic sequence in Rafiki, by the Kenyan director Wanuri Kahiu, opens with a close-up of a pair of sneaker-clad feet on a skateboard, its wheels thumping along the asphalt. The feet belong to the teenage Makena, who arrives at her friend Ziki’s apartment building to take her out around town for the day. After Ziki’s mother answers the door, an elliptical cut thrusts the viewer into a montage sequence in which the two teenage girls sit close together on a tuk-tuk ride around the streets of Nairobi. The cut introduces a nondiegetic love song that slowly drowns away the bustling sounds of the city as the girls go on a carnival ride, pedal a boat, and dance at a club. Diegetic sound only returns during a... You do not currently have access to this content.