Celluloid Comrades: Representations of Male Homosexuality in Contemporary Chinese CinemasUniversity of Hawaii Press, 2006年8月31日 - 247 頁 "Without question, Song Hwee Lim has presented us with an exemplar of quality scholarship in the study of contemporary Chinese cinemas. By combining an impressive command of Chinese and Western literary as well as film source materials with a sophisticated mode of analysis and an unassuming argumentative style, he has authored an exhilarating book—one that not only treats cinematic representations of male homosexuality with great sensitivity but also demonstrates what it means to read with critical intelligence and vision." —Rey Chow, Andrew W. Mellon Professor of the Humanities, Brown University |
搜尋書籍內容
第 1 到 3 筆結果,共 39 筆
... begin to realize how much of one's self is always already invested and implicated in the other and vice versa , and ... begins in the first person " ( 1996 , 132–133 ) . This invoked first person , however , is usually premised on one ...
... begins in the private sphere and that the private in turn is destroyed by political developments " ( 1997 , 252 ) . What political frustrations might have been intertwined with private ones for Kwan ? Between the release of Yang ± Yin ...
... begins work as a bartender at the gay bar that Tong and Wai frequent . On one occasion , the drunken Wai has to be driven home by Tong and Jie . Since Jie insists that he alone will help Wai from the car to his apartment , Tong must ...
內容
Screening Homosexuality | 19 |
Ang Lees The Wedding Banquet | 41 |
Chen Kaiges Farewell My Concubine | 69 |
著作權所有 | |
6 個其他區段未顯示