ABSTRACT This paper traces how two queer South African visual activists, Zanele Muholi and Kelebogile Ntladi, explore representations of gender identity and queer existence in their recent photographic work. Through the lens of “queer neo-ethnography,” it argues that their images oppose established codes and conventions of traditional portraiture and social documentary photography to explore the Du Boisian “double consciousness” of the queer participants who feature in their images and the complex socio-spatial and political contexts in which the images are taken. Muholi and Ntladi have turned the camera on themselves and their communities to engage with questions of black queer subjectivity in post-apartheid South Africa and, in so doing, have highlighted the disjuncture between South Africa’s liberal constitution and the homophobia, violence, and oppression which affects the queer community’s daily lived reality. Muholi’s work, in particular, underscores both the possibilities and the limitations of photography in its ability to represent black queer subjectivity.

中文翻译：

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面具的印记：后种族隔离时期南非的新民族志和双重意识

摘要本文追踪了两位南非酷儿视觉活动家Zanele Muholi和Kelebogile Ntladi如何在他们最近的摄影作品中探索性别认同和酷儿存在的表现形式。通过“同性恋新民族志”的镜头，它认为他们的图像与传统肖像画和社会纪录片摄影的既定准则和惯例相反，以探索杜伯瓦斯主义在图像中所表现出的同志参与者的“双重意识”以及复杂的社会-拍摄图像的空间和政治环境。Muholi和Ntladi已将镜头对准自己和他们的社区，以解决种族隔离后的南非黑人酷儿主观性的问题，并以此突出南非自由主义宪法与同性恋恐惧症，暴力，和压迫感影响了酷儿社区的日常生活。Muholi的作品特别强调了摄影在表现黑色酷儿主观性方面的可能性和局限性。