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 13 筆
... transvestism may not be a result of identification with the feminine . In fact , the film begins by subjecting Dieyi ... transvestism cannot be convincingly achieved without a concomitant psychological transvestism , violently executed ...
... transvestism and psychologi- cal transvestism . The psychological transvestism or gender inversion of Dieyi is most clearly illustrated in Dieyi's first ( pseudo ) sexual experience in the symbolic oral sex scene , as he consequently ...
... transvestism . This distinction is reinforced when Ah Lan initially resists Xiaoshi's demand that he put on women's clothes , protesting that " this is not what I want . " For Ah Lan , transvestism resides only in his sexual imagination ...
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