Today, Americans are more aware than ever of their food choices—where the food comes from, its locality, how it was produced, and its health quotient. But back in the 1970s, local food movements were largely nonexistent. It was the Japanese Americans living in California who began advocating for local, organic farming—and despite systemic racism, were able to make America better.
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.
