ABSTRACT

The time is out of joint in Moonlight (2016). While Barry Jenkins’ film appears to divide Chiron’s life into three chronological periods, each stage both repeats and anticipates something of the others, on the levels of both form and content – from the recurrence of heteronormative, antiBlack violence throughout Chiron’s life to the reprisal of the police-like flashes of light that cinematographically periodize his story, this narrative is (un)structured by repetition. This essay asks how Moonlight’s reiterative temporality might intervene in the ‘temporal turn’ in queer studies. By emphasizing the structuring repetition of antiBlackness, I want to complicate the utopian aspirations of queer futurism, in the vein of José Esteban Muñoz, as well as the psychoanalytic elision of race that defines queer anti-futurism, or the ‘anti-social thesis’, after Lee Edelman. What is the (non)place of Blackness in romances of queer futurity? In romances of queer negativity? In conversation with prior queer and Black scholarship on Moonlight, I argue that the film stages Blackness as a disruption to both straight and queer temporalities as we know them. Ultimately, I suggest that the film posits a third way out of the futurism/anti-futurism deadlock in queer studies: the iterability that (de)constructs Black(ness)’s narrative gestures toward an absolute open(ended)ness which is unrealizable as futurity and which is inextricable from the endlessly reiterated antiBlack, antiqueer violence of the modern world.

摘要

《月光男孩》 （2016）中的时间是错位的。虽然巴里·詹金斯的电影似乎将凯龙的一生分为三个按时间顺序排列的时期，但每个阶段在形式和内容上都重复并预见了其他阶段的某些内容——从异性恋、反黑人暴力在凯龙一生中的反复出现，到对黑人的报复。警察般的闪光以电影的方式将他的故事分期，这个叙述是由重复（非）结构的。本文询问月光如何反复出现的时间性可能会干预酷儿研究中的“时间转向”。通过强调反黑人的结构性重复，我想让酷儿未来主义的乌托邦愿望复杂化，就像何塞·埃斯特万·穆尼奥斯的风格一样，以及定义酷儿反未来主义或“反社会论点”的精神分析种族省略，继李·爱德曼之后。黑人在未来酷儿浪漫史中的（非）地位是什么？在酷儿消极的浪漫故事中？在《月光男孩》中与之前的酷儿和黑人学者对话，我认为这部电影将黑人视为对我们所知的异性恋和酷儿时间性的破坏。最终，我建议这部电影提出了摆脱酷儿研究中未来主义/反未来主义僵局的第三种方式：（解）构黑人（性）叙事的可重复性，指向一种无法实现的绝对开放（结束）性作为未来，它与现代世界不断重复的反黑人、古老的暴力密不可分。