abstract Inxeba (The Wound) has emerged as an immensely vital film in the ongoing quest for greater representation of queer subjectivities. The film scripts a narrative whose affective capacity has a great deal to do with the notion that it telling a story that has hitherto not been publicly aired. However, as the film gained prominence and won awards, it was met with a violent backlash from sectors of society who felt that the film misrepresented aspects of their culture. With this essay, I enter the still-young but vigorous debate over the meaning of Inxeba as a social document. South Africa is one of only six countries in the world that includes sexual orientation as a category protected in law. What does the reaction to Inxeba reveal about how homosexuality is read in relation to traditional culture in South Africa? This essay is an experiment with critical form and in it, I offer a way of thinking about the context of Inxeba’s appearance and visibility on the South African popular culture circuit. I adopt a less gnomic register than academic writing traditionally grants, in order to better imagine how the film emerges from the spectacle around it as a crucial cultural text for imagining a future less entangled in the sordid and the violent.

中文翻译：

---

文化与景观：从 Inxeba 的壮观接待中创造意义

摘要 Inxeba（伤口）在不断寻求更好地表现酷儿主体性的过程中已成为一部极其重要的电影。这部电影讲述了一个叙事，其情感能力与这样一种观念有很大关系，即它讲述了一个迄今为止尚未公开播出的故事。然而，随着这部电影声名鹊起并赢得奖项，它遭到了社会各界的强烈反对，他们认为这部电影歪曲了他们文化的各个方面。通过这篇文章，我进入了关于 Inxeba 作为社会文件的意义的年轻而激烈的辩论。南非是世界上仅有的六个将性取向列为受法律保护的国家之一。对 Inxeba 的反应揭示了如何解读与南非传统文化相关的同性恋？这篇文章是一个批判形式的实验，在这篇文章中，我提供了一种思考 Inxeba 在南非流行文化圈中的出现和知名度的背景的方式。我采用了一种比学术写作传统上授予的更少格言的语录，以便更好地想象这部电影如何从周围的奇观中脱颖而出，成为想象未来不再被肮脏和暴力纠缠的重要文化文本。