In this paper, I map out an analysis of two queer films: Bruce LaBruce’s The Raspberry Reich (2004) and Ulrike Ottinger’s Freak Orlando (1981). I examine both films’ representations of revolutionary desire and contextualize these images within the framework of the antisocial turn in queer theory.
The French language in Ferdinand Oyono’s Houseboy reveals the power struggles between the colonizers and the colonized that took place in French West Africa.