In this work, Tim Stüttgen explores the paradigm of (post-)slavery as a crucial epistemological shift within predominantly white Gender and Queer Studies, as well as critical Film and Cultural Studies. He builds on E. Patrick Johnson’s intersectional 'quAre' perspective, contrasting Deleuze’s cinema theory with Frantz Fanon, queer theories of color, the African diaspora's history, and utopian quAre futurisms. This framework establishes concepts of black locality, mobility, and temporality, particularly in what Stüttgen identifies as the first emancipatory black cinema: Blaxploitation. His analysis delves into the imagery and temporalities of these films, addressing the sexualization of racism and mass media representations of armed black liberation movements. He highlights the evolving complexity of characters and narratives, including black revolutionary women and queer subtexts. Following this, the book offers an intersectional reading of John Coney’s 1974 film Space is the Place, crystallizing the idea of a 'black time-image' that links formal aesthetics to afro-futurist queer utopias. Ultimately, Stüttgen aims to renew dominant discourses on race, class, and gender, encouraging a critical rethinking of identity patterns through the lens of intersectionality and heterogeneity. Co-published by Autonomedia NY and the Royal Danish Academy of Fine Arts, Schools of Visual Art, Copenhagen.
