Yet, rejecting confinement in restrictive notions of race, nationality, and sexuality, Julien represents not only African Americans such as Hughes, but also Robert Mapplethorpe, Quentin Tarantino, and the Italian Renaissance painter Fra Carnevale, among others, as symbolic parents and surrogate selves. Throughout, I suggest, Julien finds in the lives and work of African American writers and artists a prefiguration of his own enterprise. Next, I examine the treatment in Baadassss Cinema and Baltimore of 1970s blaxploitation cinema as a genre that resists the sanctioned versions of African American history and culture canonized in the Civil Rights movement, on the one hand, and Baltimore's Great Blacks in Wax Museum, on the other. First, I discuss the representation of Langston Hughes and the recovery of the interracial queer eroticism of the Harlem Renaissance in Looking for Langston.

Focusing on the films Looking for Langston: A Meditation on Langston Hughes and the Harlem Renaissance (1989) and Baadasssss Cinema: A Bold Look at 70s Blaxploitation Films (2002) and the installation Baltimore (2003), I look at the ways that Julien's excavation of African American texts and traditions underwrites his eclectic auto/biographical - auto-ethnographic, auto-genealogical - project. Prodigiously researched and deeply felt, Black Women, Black Love reveals how white supremacy has systematically broken the heart of Black America, and it proposes strategies for dismantling the structural forces that have plagued Black love and marriage for centuries.This essay addresses the role of African American culture in the work of filmmaker and installation artist Isaac Julien. And no institution has forbidden Black love as effectively as the prison-industrial complex, which removes Black men en masse from the pool of marriageable partners. Later, during Reconstruction and the ensuing decades, violence split up couples again as millions embarked on the Great Migration north, where the welfare system mandated that women remain single in order to receive government support. Dianne Stewart begins in the colonial era, when slave owners denied Blacks the right to marry, divided families, and, in many cases, raped enslaved women and girls. Black Women, Black Love reveals how four centuries of laws, policies, and customs have created that crisis. According to the 2010 US census, more than seventy percent of Black women in America are unmarried.

In this analysis of social history, examine the complex lineage of America's oppression of Black companionship.

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