By Song Hwee Lim
On the flip of the twenty-first century, chinese language filmmakers produced various movies portraying male homosexuality. renowned examples contain the interracial ny couple within the marriage ceremony dinner party, the flâneurs sojourning from Hong Kong to Buenos Aires in satisfied 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 creative success and recognition of the movies mentioned the following, the location of "celluloid comrades" can now not be overlooked inside of either transnational chinese language and worldwide queer cinemas. The e-book additionally demanding situations readers to reconceptualize those works relating to worldwide matters equivalent 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, tune Hwee Lim argues that the emergence of chinese language cinemas within the overseas scene because the Eighties created a public sphere during which representations of marginal sexualities may perhaps flourish in its interstices. analyzing 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 frequent in present scholarship and picture feedback. He presents in-depth analyses of key movies and auteurs, interpreting 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 reports, movie and cinema reports, and chinese language reviews. expert by means of cultural and postcolonial stories and significant concept, this acutely saw and theoretically subtle paintings can be of curiosity to a variety of students and scholars in addition to common readers searching for a deeper knowing of up to date chinese language cultural politics, cinematic representations, and queer tradition.
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Additional info for Celluloid Comrades: Representations of Male Homosexuality in Contemporary Chinese Cinemas
Sample text
This was evidenced by the underground circulation of Farewell My Concubine on videotape following the attack on it in Qiushi. Calling this attack a “devious exposure of [Communist China’s] cultural totalitarianism,” Wang highlighted the disparity between official censure and public sentiments in contemporary China. 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).
The relationship between Chinese cinemas and international film festivals, therefore, is as much about cross-cultural exchange as it is about market segmentation. 8 For Chinese cinemas to triumph at these festivals, they would have to appeal to panels of judges comprising Western film directors, critics, actors, and actresses—usually white, cosmopolitan, First World cultural elites—and to film festival scouts, journalists, and audiences of largely similar composition. Even if Chinese filmmakers do not intentionally cater to the taste of these global filmviewing subjects, the latter’s attitude towards the cinematic encounter may have predetermined the mode of reception.
Does this imply that Australian cinema has also been serving “oriental ars erotica” to satisfy Western aesthetic taste? While some Chinese films might have borne the traits of this description, Zhang’s argument is too totalizing to do justice to the varied and complex body of films from Chinese cinemas that have won international accolades since the 1980s. More important, the theoretical framework and polemical argument of such critics present a discursive impasse that makes their own position untenable.
