By Song Hwee Lim
On the flip of the twenty-first century, chinese language filmmakers produced numerous motion pictures portraying male homosexuality. well-known examples comprise the interracial long island couple within the marriage ceremony dinner party, the flâneurs sojourning from Hong Kong to Buenos Aires in chuffed jointly, the cross-dressing opera queen in Farewell My Concubine, and the queer oeuvre of Tsai Ming-liang and Stanley Kwan. Celluloid Comrades bargains a cogent analytical creation to the illustration of male homosexuality in chinese language cinemas in the final decade. It posits that representations of male homosexuality in chinese language movie were polyphonic and multifarious, posing a problem to monolithic and essentialized structures of either "Chineseness" and "homosexuality." Given the inventive fulfillment and recognition of the movies mentioned right here, the placement of "celluloid comrades" can not be missed inside of either transnational chinese language and worldwide queer cinemas. The ebook additionally demanding situations readers to reconceptualize those works on the subject of international concerns corresponding to homosexuality and homosexual and lesbian politics, and their interplay with neighborhood stipulations, brokers, and audiences.Tracing the engendering stipulations in the movie industries of China, Taiwan, and Hong Kong, music Hwee Lim argues that the emergence of chinese language cinemas within the foreign scene because the Nineteen Eighties created a public sphere within which representations of marginal sexualities might flourish in its interstices. reading the politics of illustration within the age of multiculturalism via debates concerning the movies, Lim demands a rethinking of the bounds and hegemony of homosexual liberationist discourse established in present scholarship and movie feedback. He offers in-depth analyses of key motion pictures and auteurs, examining them inside contexts as different as premodern, transgender perform in chinese language theater to postmodern, diasporic varieties of sexualities.Celluloid Comrades is positioned on the crossroads of gender and sexuality experiences, movie and cinema stories, and chinese language stories. proficient through cultural and postcolonial stories and demanding thought, this acutely saw and theoretically subtle paintings may be of curiosity to quite a lot of students and scholars in addition to basic readers searching for a deeper figuring out of up to date chinese language cultural politics, cinematic representations, and queer tradition.
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Extra resources for Celluloid Comrades: Representations of Male Homosexuality in Contemporary Chinese Cinemas
Example text
1957) as a gay director through his “coming out film,” Hold You Tight (Yu kuaile yu duoluo, 1998). Positing Kwan’s documentary work against Rainer Werner Fassbinder’s politics, this chapter identifies a moment when Kwan’s filmmaking career and personal history collapse into each other to the extent that the issue of sexuality haunts the film like a darkness that threatens to engulf his cinematic representation of homosexuality. Finally, the conclusion investigates the plausibility of a queer Chinese cinema and its various implications.
27 The cinematic representation of lesbianism is another project waiting to be undertaken. I also have to exclude many documentaries and short films. Nonetheless, it is hoped that the multifariousness, complexity, and richness of the representations I have chosen to study will challenge us to reflect upon many of our assumptions not only about how identities might be negotiated in relation to the matrices of ethnicity/race, class, gender, and sexuality, but also about identity itself and the pitfalls in contemporary multicultural politics.
To begin with the historical, Kath Weston has written on what she calls the “Great Gay Migration” of the 1970s and early 1980s into major urban areas across the United States; it coincided with a gay movement that ushered in the so-called minority model of gay identity, the pitfalls of which she describes as follows: In the minority model homosexuality becomes an entity supposed to be discernible without respect to culture or context. To write unreflectively about “gay people” is to treat homosexuality as a presocial given.