42:
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writes: "...Hughes found some young men, especially dark-skinned men, appealing and sexually fascinating. (Both in his various artistic representations, in fiction especially, and in his life, he appears to have found young white men of little sexual appeal.) Virile young men of very dark complexion
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Throughout this process, the identity of Hughes as a black gay man is reclaimed and no longer denied, a process paralleled in the ever-growing academic studies of Hughes today. Moreover, adding to the historic and cinematic importance of the film in gay cinema,
293:
of
Langston Hughes. It is a memoriam to Hughes and the Harlem Renaissance as reconstructed from a black gay perspective. Moreover, it purports to be a meditation on the black gay experience within a historical context built around the
359:
from critics at the time of the U.S. premiere of the film, the estate had allowed many of Hughes' poems to appear in gay anthologies in the print media and continues to do so until this day. Today it falls under the auspices of the
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upon his death in 1967 as the scene of his funeral is recreated and reinterpreted. Interspersed among such images as shifting time periods that seamlessly flow from past to present, black men dancing together within a
512:
Sandra West explicitly states Hughes' "apparent love for black men as evidenced through a series of unpublished poems he wrote to a black male lover named 'Beauty'." West, 2003, p. 162.
556:
313:. Contested are the ways the black male and his sexuality have been represented in the modern Western world and how existing notions of race and gender figure within
348:
violations: permission allegedly had not been obtained by the filmmakers permitting them to use the poetry of Hughes in the film. During subsequent screenings of
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was and continues to be one of very few films showing intra-racial affection between black gay men as revealed in the love story between the two leading black
754:
445:
298:, oppression and denial faced by men of African descent within black communities alongside "allusions and political commentary on white racism."
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In one key scene, there is "an exchange of looks between 'Langston' and his mythic object of desire, a black man named 'Beauty'..."
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557:"Berlinale 2016: Panorama Celebrates Teddy Award's 30th Anniversary and Announces First Titles in Programme"
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270:, and dream sequences, are brief narrative extracts from the poetic works of Hughes alongside those of
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in 1990, the estate of
Langston Hughes initially attempted to have the film censored because of
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for black gay men who were confronted with being ostracized if they did not conform to black
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as part of its national "Black World" initiative celebrating black creativity in film.
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Dolan
Hubbard (2004), "Langston Hughes: A Bibliographic Essay", in S. Tracy (2004),
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West, Sandra L. (2003), "Langston Hughes". In
Aberjhani & Sandra West (eds),
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Padva, Gilad (2014). "Black
Nostalgia: Poetry, Ethnicity, and Homoeroticism in
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282:. Also shown are the controversial images of black men by the photographer
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352:, the sound was repeatedly turned down when the work of Hughes was read.
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identity and desire during the artistic and cultural period known as the
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Disidentifications: Queer of Color and the
Performance of Politics
333:, Ben Ellison as Langston Hughes and Matthew Baidoo as Beauty.
222:
625:
Welcome to the Jungle: New
Positions in Black Cultural Studies
527:
Welcome to the Jungle: New
Positions in Black Cultural Studies
659:. "Ask Your Mama!", p. 336. Oxford University Press.
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in the 1920s with scripted scenes to produce a non-linear
230:
657:
The Life of
Langston Hughes Volume 2: I Dream A World
221:. It combines authentic archival newsreel footage of
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is a 1989 British black-and-white film, directed by
253:of the original radio broadcast made in tribute to
498:"Referring to men of African descent, biographer
462:
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309:standards whose overriding goal concerned fuller
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671:Representing Blackness: Issues in Film and Video
609:Blount, Marcellus; George P. Cunningham (1996).
503:fascinated him. Rampersad, vol. 2, 1988, p. 336.
599:. Philadelphia: Running Press Book Publishers.
446:African-American culture and sexual orientation
457:
241:. The film has a runtime of about 42 minutes.
301:Hughes is presented as an icon and cultural
432:, the film was selected to be shown at the
428:. To celebrate the 30th anniversary of the
483:Russo, Vito (1990), "Who Owns the Past?",
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718:Queer Nostalgia in Cinema and Pop Culture
549:
434:66th Berlin International Film Festival
14:
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689:Encyclopedia of the Harlem Renaissance
546:, pp. 128–129. British Film Institute.
468:A Historical Guild to Langston Hughes
641:(Cultural Studies of America, V.2).
597:Africana: The Concise Desk Reference
244:
219:Sankofa Film & Video Productions
142:Sankofa Film & Video Productions
804:African-American LGBT-related films
24:
702:
426:Berlin International Film Festival
181:Berlin International Film Festival
27:1989 film directed by Isaac Julien
25:
840:
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691:, p. 162. Checkmark Press.
424:for Best Short Film at the 1989
824:Films directed by Isaac Julien
669:Smith, Valerie (ed.), (2003).
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515:
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477:
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1:
643:University of Minnesota Press
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394:Harry Donaldson as Leatherboy
794:1980s English-language films
637:Munoz, Jose Esteban (1999).
412:as himself (archive footage)
229:storyline celebrating black
46:UK theatrical release poster
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809:American LGBT-related films
544:Diary of a Young Soul Rebel
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819:British LGBT-related films
655:Rampersad, Arnold (1988).
336:Upon the first release of
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385:Dencil Williams as Marcus
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675:Rutgers University Press
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406:as British voice (voice)
376:Matthew Baidoo as Beauty
779:1989 LGBT-related films
627:. New York: Routledge.
623:Mercer, Kobena (1994).
613:. New York: Routledge.
472:Oxford University Press
367:
355:Despite allegations of
799:African-American films
753:Metro Picture Gallery
611:Representing Black Men
391:James Dublin as Carlos
362:British Film Institute
249:Opening the film is a
152:British Film Institute
589:Appiah, Kwame Anthony
784:1980s American films
757:Looking for Langston
744:Looking for Langston
720:, pp. 199–226.
710:Looking for Langston
379:Akim Mogaji as James
350:Looking for Langston
338:Looking for Langston
327:Looking for Langston
272:Richard Bruce Nugent
210:Looking for Langston
76:Nadine March-Edwards
35:Looking for Langston
18:Looking For Langston
829:Films set in Harlem
814:Black British films
789:1980s British films
567:on 21 December 2015
538:Julien, Isaac, and
388:Guy Burgess as Dean
382:John Wilson as Gary
373:Ben Ellison as Alex
284:Robert Mapplethorpe
722:Palgrave Macmillan
714:Brother to Brother
436:in February 2016.
311:social integration
289:The film is not a
235:Harlem Renaissance
166:February 1989
730:978-1-137-26633-0
593:Henry Louis Gates
245:Critical synopsis
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16:(Redirected from
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563:. Archived from
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398:Jimmy Somerville
319:African-American
217:and produced by
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101:Jimmy Somerville
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703:Further reading
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486:The Advocate
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331:protagonists
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215:Isaac Julien
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190:Running time
125:Wayson Jones
96:James Dublin
68:(screenplay)
66:Isaac Julien
56:Isaac Julien
29:
571:20 December
422:Teddy Award
404:Stuart Hall
307:bourgeoisie
264:Cotton Club
260:revisionist
94:Guy Burgess
90:John Wilson
88:Akim Mogaji
84:Ben Ellison
73:Produced by
52:Directed by
774:1989 films
768:Categories
583:References
357:censorship
296:homophobia
251:voice-over
194:42 minutes
135:Production
107:as himself
62:Written by
561:Berlinale
346:copyright
321:culture.
291:biography
268:speakeasy
724:, 2014.
595:(2003).
542:(1991).
525:(1994),
440:See also
400:as Angel
315:American
303:metaphor
239:New York
199:Language
122:Music by
81:Starring
340:in the
266:, or a
202:English
170:1989-02
168: (
137:company
728:
716:". In
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663:
649:
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617:
603:
417:Awards
278:, and
223:Harlem
452:Notes
749:IMDb
726:ISBN
712:and
693:ISBN
679:ISBN
661:ISBN
647:ISBN
629:ISBN
615:ISBN
601:ISBN
573:2015
368:Cast
317:and
747:at
237:in
231:gay
770::
677:.
645:.
591:;
559:.
459:^
286:.
274:,
759:.
732:.
575:.
529:.
474:.
183:)
179:(
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20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
