Cover
Table of Contents
List of Figures
Acknowledgements
Introduction: Processing
Tongzhi/Queer Imaginaries
Figure 4 Poster for the INTERACT Event, Columbia University
Mapping the Research Field
Research Method
Book Structure
Note on Translation
Section I: Against Families, Against States
1. The Chinese Queer Diasporic Imaginary
a) Filiality as a Discourse: A Historical Perspective
b) The Cultural Policy of the Martial Law Period of Taiwan
a) From the Modernist Literary Movement to the Nativist Literary Movement
b) Taiwan New Cinema
a) The “Queer Family-Dark Kingdom” Imaginary
Figure 1.1 A-Qing and Dragon Prince in bed right after a sexual encounter (a scene cut from the Taiwan version)
Figures 1.2.1-1.2.4 Stills from Outcasts
b) The Local and the Postcolonial through the Chinese Queer Diasporic Imaginary
Figures 1.3.1-1.3.4 Stills from Outcasts
Figure 1.5 The Minnan architectural style of the Guanyin Edifice (epitomized by its roof) combined with the Japanese style of the Edifice’s entrance
Figure 1.6 A-Qing walks by the Japanese-style Bell Tower of Tonghe Temple
(a scene cut from the Taiwan version)
a) Tsai Ming-liang’s Taipei Trilogy
b) The Chinese Queer Diasporic Imaginary: From Outcasts (1986) to Fleeing By Night (2000), and Beyond
Concluding Remarks
2. Two Stage Sisters: Comrades, Almost a Love Story
Two Stage Sisters and Its Historical Connections
a) Two Stage Sisters as a Socialist Political Melodrama
Figure 2.1 Still from Two Stage Sisters
b) A Queer Feeling in Two Stage Sisters
Figures 2.2.1-2.2.2 Stills from Two Stage Sisters
Figures 2.3.1-2.3.2 Stills from Two Stage Sisters
Figure 2.4 Still from Two Stage Sisters
Figure 2.5 Still from Two Stage Sisters
Figure 2.6 Still from Two Stage Sisters
Figure 2.7 Still from Two Stage Sisters
Figure 2.8 Still from Two Stage Sisters
Figures 2.9.1-2.9.2 Stills from Two Stage Sisters
Transformation of Qing through Two Stage Sisters and Yueju
Concluding Remarks
Section II: Camp Aesthetics
3. Mass Camp in Contemporary Hong Kong Cinema
Mass Camp and Gay Camp, A Discursive Approach
The Discursive Formation of Mass Camp in Hong Kong
a) Hui Brothers Comedy and Mass Camp Impulse
b) Gender Parody in Mass Camp
c) Mass Camp and Hong Kong New Wave
d) Mass Camp in Kung Fu Comedy
e) Mass Camp and Hong Kong Nostalgia Film
Concluding Remarks
4. Toward an Aesthetic of Tongzhi Camp
Queer Structures of Feeling: Gay Shame and Gay Melancholy, Chinese Style
a) Gay Shame
b) Gay Melancholy
c) A Temporal Dimension of the Queer Structure of Feeling
From the Queer Feeling to Tongzhi Camp:
A Case Study of Zero Chou
Figure 4.1 Still from Corner’s
Figure 4.3 Still from Splendid Float
Camping in The Hole
Concluding Remarks
Figure 4.4 Still from Death of Montmartre
Section III: Documentary Impulse
5. Coming Out of The Box, Lalas with DV Cameras
Identity Politics and Production Methods
Figure 5.1 Still from Dyke March
Bringing out Lesbian Subjects in Contemporary China
Figure 5.2 Still from The Box
Lalas with DV Cameras
Figure 5.3 Still from Dyke March
Concluding Remarks
6. Performing Gender, Performing Documentary in Postsocialist China
Performing Documentary: “Xianchang” Aesthetic and Reflexivity
Figure 6.1 Still from Tang Tang
Figure 6.2 Still from Tang Tang
Figure 6.3 Still from Tang Tang
Performing Gender/Subjectivity through Reflexive Documentary
Mapping Out Gender-Crossing Performance across the Geopolitical Landscape
Figure 6.4 Still from Mei Mei
Figure 6.5 Still from Mei Mei
Concluding Remarks
Conclusion
Chinese Glossary
Bilingual Filmography
Selected Bibliography in English
Selected Bibliography in Chinese
Newspaper Articles without Bylines
Index