Skip to main content
It looks like you're using Internet Explorer 11 or older. This website works best with modern browsers such as the latest versions of Chrome, Firefox, Safari, and Edge. If you continue with this browser, you may see unexpected results.

Queer Filmmakers of Color : Databases and Other Resources

We hope by providing students, scholars, film lovers, and the general public with this libguide, the names and works done by these amazing individuals will be more widely appreciated.


Kanopy is an award-winning video streaming service providing access to more than 30,000 independent and documentary films ─  titles of unique social and cultural value from The Criterion Collection, The Great Courses, Media Education Foundation, and thousands of independent filmmakers.

Alexander Street Press publishes online collections of streaming videos for scholarly research, teaching, and learning. In this demo Cameron, shows you basic navigation of the site from the Pratt portal to the actual Alexander Street website.

Media Sources & Databases

Open Sources


UCLA Film & Television Archive




NYPL Databases (accessible anywhere with a NYPL library card):

Film Literature Index

Internet Movie Database

Movie Review Query Engine


NYPL Databases (accessibly on-site):

Classic Mexican Cinema Online

FIAF International Index to Film Periodicals Plus

Film & Television Literature Index with Full Text

Pratt Institute Databases (accessible to Pratt students):

Alexander Street Press

Kanopy Streaming Video

Entertainment Industry Magazine Archive

Archive Grid


Other Sources:

Internet Archive’s Moving Image Archive

Museum of the Moving Image

The Society for Cinema and Media Studies’ Film/Media Journals

Secondary Sources

Bradley, R. (2017). Vestiges of Motherhood: The Maternal Function in Recent Black Cinema. Film Quarterly, 71(2), 46–52.

This write up focuses on two movies with black queer protagonists: Dee Rees’ Pariah and Barry Jenkins’ Moonlight. Both films include black maternal figures who are at odds with their child’s sexuality. Bradley believes that the presence and sudden absence  of black maternal figures in these films echo the struggle of black motherhood throughout history, something that “cannot be assimilated into the idealization of the American family”. Bradley also believes that black maternal figures inform the narrative but also the aesthetic choices (flashback, coloration, and shot position). 

Bronski, M. (2008, Spring). From The Celluloid Closet to Brokeback Mountain: the changing nature of Queer Film Criticism. Cineaste, 33(2), 22+. Retrieved from

The article is a dissection of how queer film critique changed with the arrival of the film “Brokeback Mountain”. It speaks on the ensuing coverage of a film that became a part of the human zeitgeist with its initial release. It goes into a variety of resources that could be used when looking back on LGBTQ film critique, and gives some readings from authors who cover the subject. 

Castellanos, S. (2008). Hauntings by the Latin Lover: The ambiguities of eroticized Latino male bodies in contemporary U.S. queer commercial narrative cinema (Ph.D., University of California, Davis). Retrieved from  

Castellanos’ book tells of the depiction of masculinity played by actors with latin background. The text highlights the versatility a latin(o) actor may have, in regards to country of origin, race, color, and masculinity. Latin(o) actors are fetishized in order to fit into white spaces and teeter between exotic and passing for white consumption.

Deerwater, R. (2018, March 8). 18 Black LGBTQ creators on the rise. Retrieved November 20, 2019, from

The article contains its own list of LGBTQ+ artists on the rise. It takes in alot of forms of artistry that goes into making films, from writer to director and actors. Giving some insight into the current-ish world of LGBTQ film and cinema. Follow their career paths… gain some new favorites! 


Han, C. W. (2015). Geisha of a Different Kind : Race and Sexuality in Gaysian America. London [England]: NYU Press. 

The book explores and documents the gay Asian male experience through ethnographic observation. The writer constructs a theory of queerness that is inclusive of the race and gender particularities of the demographic in the United States. Chapters of the book provides detail from drag shows, interviews, media, and popular culture depictions. Key topics include marginalization, alienation, masculinity and femininity, and Western domination and colonization. 

Khoo, O. (2014). The Minor Transnationalism of Queer Asian Cinema: Female Authorship and the Short Film Format. Camera Obscura: A Journal of Feminism, Culture, and Media Studies, 29(85 [1]), 33–58.

The article explores the role of women in queer Asian cinema. The author defines and explores the “in-betweenness” position related to female authorship. The short film format is discussed to explore women’s contributions that demonstrate the material as a part of minor transnationalism. Referenced in the paper is the Sun Koh’s Dirty Bitch (Tu Nu [兔女], 2009) and geographical space Singapore.

Mennel, B. C. (2012). Queer Cinema : Schoolgirls, Vampires, and Gay Cowboys. London: WallFlower Press. Retrieved from

Chapter 5 of Mennel’s Queer Cinema makes a distinction on how global queer cinema does not negotiate authenticity in an effort to “mainstream” queer identity. Directors like Apichatpong Weerasethakul, who is from Thailand and identifies as queer, creates worlds where queer characters exist in the moment without challenging or cowering to tradition. 

Rutledge, E.(2019, Fall). The Historical Significance of Black Queer Films. Retrieved from

The article see speaks on the subject of “black nationalism” and how the lens of heteronormitive society within the black community fueled a hypocritical past. It also speaks on some filmmakers that initiated change of this thought process through their art.

Tracy, M. L. (2016). Seeing unseeable things: Blackness, queerness, and homonormativity in U.S. popular culture, 1989-2016 (Ph.D., Saint Louis University). Retrieved from

Tracy chronicles the evolution of queer bodies on television and film, while reminding the reader that black queer bodies have not had the same opportunities as their white counterparts. The quest for homonormativity is at odds with black queerness because society does not allow them to be mutually exclusive. Instead, black queerhood often refers to a stereotype, which allows white queer characters to achieve homonormativity. 

Yue, A. (2014). Queer Asian Cinema and Media Studies: From Hybridity to Critical Regionality. Cinema Journal, 53(2), 145–151.

The essay explores the subject of queer Asian cinema and media studies. The author discusses the shift of queer Asian cinema has moved to the mainstream conversation in media studies and concepts related to the de-Westernizing of the material. Historial material includes summary of decriminalization of homosexuality in Asia.

Pratt Courses

AIC-101 Film Studies/The Art of Cinema
HAD-362 History of Film
HAD-425 Contemporary International Cinema
HAD-514 Film Criticism
HMS-240A Introduction to the Critical Analysis Of Cinema
HMS-331S Special Topics: Cultural Studies Boundaries Film
HMS-441A Global Cinema
HMS-663A Postcoloniality and Aesthetics
PHIL-205 Philosophy Through Film





Cameron Aguilar's picture