Contends that cinema and cinematic processes had a profound significance for twentieth-century anti-capitalist Black liberation movements based in the United States. The author finds hidden within the histories and logics generated by US-based struggles against racism, sexism, and homophobia, the Black femme's invisible, affective labour.

Keeling finds hidden within the histories and logics generated by U.S.-based struggles against racism, sexism, and homophobia, the Black femme's invisible, affective labour.