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Resolutions 3Global Networks of Video$
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Ming-Yuen S. Ma and Erika Suderburg

Print publication date: 2012

Print ISBN-13: 9780816670826

Published to Minnesota Scholarship Online: August 2015

DOI: 10.5749/minnesota/9780816670826.001.0001

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You Dropped a Bomb on Me

You Dropped a Bomb on Me

(p.225) 19 You Dropped a Bomb on Me
Resolutions 3

Jessica Lawless

University of Minnesota Press

This chapter considers the question of how the radical use of the camera can translate into concrete political activism that effects social change. A way to do this is to stop confining the definition of political art to protest art and, conversely, to recognize the sublime in openly political artworks. It is also necessary to shift the concept of oblique to stealth. Oblique can be likened to passing, whereas stealth, if one is being conscious and strategic, can contribute to the dismantling of normative gender and sexuality in explosive ways. This is not just a rhetorical move. It is queering an approach to video making, queering how one looks through the camera, and queering how one sees what is captured. To be queer, one must become conscious of one’s location. Queering one’s approach to making video is not to become queer in one’s sexual practices but to become conscious of looking 45 degrees off center, askew and somewhat bent.

Keywords:   video art, social change, political activism, queering, political art, gender, sexuality

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