Abstract

Drawing upon the work of various critical race theorists, including Frantz Fanon, Kevin Quashie, Hortense J. Spillers, Calvin L. Warren and Sylvia Wynter, this article suggests that if Blackness has historically been, and continues to be, cast outside of being and into being, or what Wynter terms désêtre, then for Blackness to give expression to itself and/or to prove (or improvise) its “aliveness” is a necessarily “poetic” process, given that poetry/ poiesis is the bringing into being of that which previously did not exist. Looking at a range of films, including Arthur Jafa’s Dreams are colder than Death (USA, 2014) and Love Is the Message, The Message Is Death (USA, 2016), Barry Jenkins’s The Gaze (USA, 2021) and Paige Taul’s I am (USA, 2017), the article considers this cinematic poiesis in the light of Martin Heidegger’s philosophy of poetry, drawing out the structuring antiblackness at work in the latter and in modernity more generally, before suggesting that cinematically to present Blackness in a loving fashion/to love Blackness through film is what Denise Ferreira da Silva might term a radical and “poethical” gesture, using poetry to decolonise our white supremacist world.