Abstract
In this article, I reinterpret the Romanian film The Valley Resounds (Răsună valea, Călinescu 1949) to challenge reductive explanations of Stalinist art as totalitarian and suggest a novel use of socialist artworks in the era of digital capitalism. In advancing a practice of decontextualization, I claim that Marxist films need to be reinscribed in new art contexts so that they could generate utopian desires about sexuality and radical politics. Given that socialist realist productions function not unlike José Esteban Muñoz’s queer practices of dis-identification, I argue that Stalinist films offer an archive that calls for the abolition of capitalist sex roles.
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