- [UNTITLED]
- Contributors
- Introduction: Chinese Cinemas and the Art of Extrapolation
- D. W. Griffith and the Rise of Chinese Cinema in Early 1920s Shanghai
- Ombres Chinoises: Split Screens and Parallel Lives in Love and Duty
- Fei Mu, Mei Lanfang, and the Polemics of Screening China
- A National Cinema for a Puppet State: The Manchurian Motion Picture Association
- A Genealogy of Cinephilia in the Maoist Period
- Cold War Politics and Hong Kong Mandarin Cinema
- Conceiving Cross-Border Communities: Mobile Women in Recent Hong Kong Cinema
- Taiwan New Cinema: Small Nation with Soft Power
- Chinese Cinema With Hollywood Characteristics, or How <i>The Karate Kid</i> Became a Chinese Film
- World as Picture and Ruination: On Jia Zhangke’s Still Life as World Cinema
- The Opera Film in Chinese Cinema: Cultural Nationalism and Cinematic Form
- A Small History of <i>Wenyi</i>
- Art, Politics, and Internationalism: Korean War Films in Chinese Cinema
- Edification Through Affection: The Cultural Revolution Films, 1974–1976
- Reforming Vengeance: kung fu and the racial melancholia of chinese masculinity
- Desire and Distribution: Queer/Chinese/Cinema
- Thirdspace Between Flows and Places: Chinese Independent Documentary and Social Theories of Space and Locality
- From Anticorruption to Officialdom: The Transformation of Chinese Dynasty TV Drama
- New Media: Large Screens in China
- Online Small-Screen Cinema: The Cinema of Attractions and the Emancipated Spectator
- Acting Real: Cinema, Stage, and the Modernity of Performance in Chinese Silent Film
- Edward Yang and Taiwan’s Age of Auteurs
- A Marriage of Convenience: Musical Moments in Chinese Movies
- Policing Film in Early Twentieth-Century China, 1905–1923
- Between Will and Negotiation: Film Policy in the First Three Years of the People’s Republic of China
- Fetish Power Unbound: A Small History of “Woman” in Chinese Cinema
- Ethnographic Representation Across Genres The Culture Trope in Contemporary Mainland Media
- Conjuring the Masses: The Spectral/Spectacular Crowd in Chinese Film
- The Idea of Asia(nism) and Trans-Asian Productions
- Film and Contemporary Chinese Art: Mediums and Remediation
- Crossing the Same River Twice: Documentary Reenactment and the Founding of PRC Documentary Cinema
- Remade in China: Cinema with “Chinese Elements” in the Dapian Age
- Along the Riverrun: Cinematic Encounters in Tsai Ming-Liang’s The River
- Afterword (<span xml:lang="chi">尾聲</span>)
- Filmographies
- Index
Abstract and Keywords
“New Queer Cinema,” as coined by B. Ruby Rich in 1992, denotes a set of English and American films featuring same-sex desire and which engage in formal experimentation. How might we understand queer Chinese film? In the American academy, the resurgence of queer has much to do with the question of sociality: how and to what end do normative structures of kinship function and what might the search and practice of other alternatives yield? Queer has also entered Chinese linguistic discourse—although somewhat differently in the context of Hong Kong, the PRC, and Taiwan. This chapter investigates several clusters of works to articulate the formal structures of queer Chinese film and, ultimately, how the meanings of “Chinese,” “queer,” and “film” shift in relation to one another through transnational distribution networks.
Keywords: Chinese, queer, distribution, Cui Zi’en, Fish and Elephant, Solos
Sean Metzger is Assistant Professor of English at the University of California, Los Angelas. He has co-edited three volumes: with Gina Masequesmay, Embodying Asian/American Sexualities (Lexington Books, 2009); with Olivia Khoo, Time Signatures: Technologies and Temporalities in Chinese Screen Cultures (Intellect 2009); and, with Michaeline Crichlow, a special issue on Race, Space, Place: the Making and Unmaking of Freedoms in the Atlantic World (Cultural Dynamics, Nov 2009). He is completing a book currently called “Chinese Looks: The Skein of Race and Asian/American Spectatorship,” which investigates Chineseness, fashion, film, gender, migration, and performance through four objects—the queue, the qipao, the Mao suit, and the tuxedo—during the long twentieth century.
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- [UNTITLED]
- Contributors
- Introduction: Chinese Cinemas and the Art of Extrapolation
- D. W. Griffith and the Rise of Chinese Cinema in Early 1920s Shanghai
- Ombres Chinoises: Split Screens and Parallel Lives in Love and Duty
- Fei Mu, Mei Lanfang, and the Polemics of Screening China
- A National Cinema for a Puppet State: The Manchurian Motion Picture Association
- A Genealogy of Cinephilia in the Maoist Period
- Cold War Politics and Hong Kong Mandarin Cinema
- Conceiving Cross-Border Communities: Mobile Women in Recent Hong Kong Cinema
- Taiwan New Cinema: Small Nation with Soft Power
- Chinese Cinema With Hollywood Characteristics, or How <i>The Karate Kid</i> Became a Chinese Film
- World as Picture and Ruination: On Jia Zhangke’s Still Life as World Cinema
- The Opera Film in Chinese Cinema: Cultural Nationalism and Cinematic Form
- A Small History of <i>Wenyi</i>
- Art, Politics, and Internationalism: Korean War Films in Chinese Cinema
- Edification Through Affection: The Cultural Revolution Films, 1974–1976
- Reforming Vengeance: kung fu and the racial melancholia of chinese masculinity
- Desire and Distribution: Queer/Chinese/Cinema
- Thirdspace Between Flows and Places: Chinese Independent Documentary and Social Theories of Space and Locality
- From Anticorruption to Officialdom: The Transformation of Chinese Dynasty TV Drama
- New Media: Large Screens in China
- Online Small-Screen Cinema: The Cinema of Attractions and the Emancipated Spectator
- Acting Real: Cinema, Stage, and the Modernity of Performance in Chinese Silent Film
- Edward Yang and Taiwan’s Age of Auteurs
- A Marriage of Convenience: Musical Moments in Chinese Movies
- Policing Film in Early Twentieth-Century China, 1905–1923
- Between Will and Negotiation: Film Policy in the First Three Years of the People’s Republic of China
- Fetish Power Unbound: A Small History of “Woman” in Chinese Cinema
- Ethnographic Representation Across Genres The Culture Trope in Contemporary Mainland Media
- Conjuring the Masses: The Spectral/Spectacular Crowd in Chinese Film
- The Idea of Asia(nism) and Trans-Asian Productions
- Film and Contemporary Chinese Art: Mediums and Remediation
- Crossing the Same River Twice: Documentary Reenactment and the Founding of PRC Documentary Cinema
- Remade in China: Cinema with “Chinese Elements” in the Dapian Age
- Along the Riverrun: Cinematic Encounters in Tsai Ming-Liang’s The River
- Afterword (<span xml:lang="chi">尾聲</span>)
- Filmographies
- Index