Celluloid Comrades: Representations of Male Homosexuality in by Song Hwee Lim

By Song Hwee Lim

On the flip of the twenty-first century, chinese language filmmakers produced a large number of motion pictures portraying male homosexuality. sought after examples comprise the interracial manhattan 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 right here, the location of "celluloid comrades" can now not be overlooked inside of either transnational chinese language and international queer cinemas. The ebook additionally demanding situations readers to reconceptualize those works with regards to 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 flourish in its interstices. studying the politics of illustration within the age of multiculturalism via debates in regards to the motion pictures, Lim demands a rethinking of the bounds and hegemony of homosexual liberationist discourse favourite in present scholarship and picture feedback. He offers in-depth analyses of key motion pictures and auteurs, interpreting them inside of contexts as diverse as premodern, transgender perform in chinese language theater to postmodern, diasporic sorts of sexualities.Celluloid Comrades is positioned on the crossroads of gender and sexuality stories, movie and cinema stories, and chinese language stories. proficient through cultural and postcolonial reports and significant concept, this acutely saw and theoretically subtle paintings could be of curiosity to quite a lot of students and scholars in addition to basic readers searching for a deeper realizing of latest chinese language cultural politics, cinematic representations, and queer tradition.

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Additional resources for Celluloid Comrades: Representations of Male Homosexuality in Contemporary Chinese Cinemas

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19 Made outside the state studio system, Zhang’s film was illegal by default and thus destined to be banned in China. When the film was invited to the out-of-competition section of the 1997 Cannes Film Festival, the Chinese authorities tried to block its participation. When this failed, China withdrew its official entry, Zhang Yimou’s Keep Cool (You hua haohao shuo, 1996)—an ironic title in these circumstances. Then, also in retaliation, Zhang Yuan’s passport was confiscated to prevent him from attending the festival.

In so doing, this book in fact ushers in “a new utopian imaginary” (Ong and Nonini 1997, 330) in its quest to illuminate our understanding of homosexuality in its irreducible multiplicity through cinematic representations 16 Introduction that become sites of analysis drawing together textual elements with historical contexts, theoretical frameworks, and political debates. Representation, therefore, is a central issue linking the chapters that study the celluloid comrades. To begin with the historical, chapter 1, “Screening Homosexuality,” argues that the representation of male homosexuality in Chinese cinemas has been engendered by the marginal and interstitial spaces created by the disjunctive order of globalization.

20 Up until the 1990s, tongxinglian and tongxing’ai remained the most commonly used Chinese discursive terms for homosexuality. 21 The popular use of the original meaning of the term tongzhi can be traced to a quote by Sun Yat-sen (1866–1925), the founding father of Republican China, whose dying words were, “The revolution has yet to triumph; comrades still must work hard” (Geming shang wei chenggong; tongzhi reng xu nuli). Following the establishment of the People’s Republic of China in 1949, the term became the most common form of political address in the country.

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