ABSTRACT

In thinking of alternative and undisciplined cinematic forms, I look at the margins and cracks of Windhoek’s cinematic landscape to map and read content that shows critical thought and radical politics. I reference video documentation work by artists and activists Tuli Mekondjo, JuliArt, Neige Moongo, Tangeni Kauzuu and the Decolonising Space Group, most of which is available online. I read their works as acts and embodiments of love because of how they are politically situated. I refer to bell hooks’s idea of the margin as a site of resistance to explain how these works are not only situated on the peripheries of Windhoek’s public imagination but also have the power to mobilise radical politics and critical engagement in and about the city. The article responds to the backdrop of a dominant mainstream film industry which is restricting in terms of form and structure. It also highlights the dangers of heteronormative and nationalist thinking which dominates local film content, misrepresenting bodies on the margins of the city.

摘要

在思考另类和无纪律的电影形式时，我观察温得和克电影景观的边缘和裂缝，以绘制和阅读显示批判性思想和激进政治的内容。我参考了艺术家和活动家 Tuli Mekondjo、JuliArt、Neige Moongo、Tangeni Kauzuu 和非殖民化空间集团的视频文档工作，其中大部分都可以在线获取。我将他们的作品视为爱的行为和体现，因为他们在政治上所处的位置。我将 bell hooks 的边缘思想称为抵抗场所，以解释这些作品如何不仅位于温得和克公众想象的边缘，而且还具有动员激进政治和批判性参与城市及其相关的力量。文章回应了主流电影产业在形式和结构上受到限制的背景。它还强调了异性恋和民族主义思想的危险，这些思想主导着当地的电影内容，歪曲了城市边缘的身体。