Queer Camera: Christopher Isherwood's and .

This essay locates Christopher Isherwood's radical energy in the use of emergent visual technologies to curate a space for queer desire in his works (1939) and (1945). Isherwood subverts the heteronormative cinematic discourses by pausing them and preparing Instantaneous Photographs out of small moments that engage in a play of stillness and movement. The pauses enable the narratives to constantly draw attention toward themselves as well as the namesake narrators who voice their queer desire in those moments.