By Song Hwee Lim
On the flip of the twenty-first century, chinese language filmmakers produced a lot of movies portraying male homosexuality. popular examples comprise the interracial big apple couple within the marriage ceremony ceremonial dinner, 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 buildings of either "Chineseness" and "homosexuality." Given the creative fulfillment and recognition of the movies mentioned the following, the location of "celluloid comrades" can now not be missed inside of either transnational chinese language and worldwide queer cinemas. The e-book additionally demanding situations readers to reconceptualize those works on the subject of worldwide matters 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, track 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 may perhaps flourish in its interstices. studying the politics of illustration within the age of multiculturalism via debates in regards to the movies, Lim demands a rethinking of the bounds and hegemony of homosexual liberationist discourse regular in present scholarship and picture feedback. He presents in-depth analyses of key motion pictures and auteurs, interpreting them inside of contexts as different as premodern, transgender perform in chinese language theater to postmodern, diasporic kinds of sexualities.Celluloid Comrades is positioned on the crossroads of gender and sexuality reviews, movie and cinema stories, and chinese language stories. educated through cultural and postcolonial reviews and significant concept, this acutely saw and theoretically refined paintings could be of curiosity to quite a lot of students and scholars in addition to basic readers trying to find a deeper realizing of latest 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
Criticisms of Chen’s film have also come from outside China, albeit for different reasons. The film’s portrayal of the homosexual character, Cheng Dieyi, has been attacked as “incarnating a homophobic fantasy of the hysterical faggot” (Berry 1993a, 21), and the erasure of Hong Kong (where in the novel Dieyi and his object choice, Duan Xiaolou, reunite after the political upheavals in China) from the film’s narrative has also been criticized as mainland-centric (Lau 1995, 26; see also Leung Pingkwan 1995, 361–362; Wang Hongzhi, Li, and Chen 1997, 224–226).
Weaving the political with the textual, chapter 4, “Travelling Sexualities,” explores diasporic forms of sexuality by highlighting the economic conditions for travel and the dialectic relationship between home and the diasporic space in Happy Together (Chunguang zhaxie, 1997), by Wong Karwai (Wang Jiawei, b. 1958). An allegorical reading of the film in the context of Hong Kong’s 1997 return to the People’s Republic of China also leads to an interrogation on notions of normativity in relation to homosexuality.
In terms of multiple and conflicting identities and constituencies. Indeed, the cinema can, at certain junctures, function as a matrix for challenging social positions of identity and otherness, as a catalyst for new forms of community and solidarity. — Miriam Hansen, “Early Cinema, Late Cinema” rom the interracial couple in The Wedding Banquet and the diasporic sojourners in Happy Together to the cross-dressing opera actor in Farewell My Concubine and the incestuous father and son in The River, the proliferating representation of male homosexuality in contemporary Chinese cinemas was a striking phenomenon at the end of the twentieth century that would not have gone unnoticed by any cinephile.
Celluloid Comrades: Representations of Male Homosexuality in Contemporary Chinese Cinemas by Song Hwee Lim