Celluloid Comrades: Representations of Male Homosexuality in Contemporary Chinese CinemasUniversity of Hawaii Press, 2006年8月31日 - 268 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 |
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第 1 到 5 筆結果,共 38 筆
... expression of a Chinese nation has been dramatically undercut by history. . . . The People's Republic, Taiwan, and Hong Kong and their cinemas are marked as socialist, capitalist, and colonialist, respectively. Yet to exaggerate these ...
... expression of sexual desire between men in the films discussed, though this does not imply that the characters necessarily declare themselves as homosexuals or identify with an identity category known as “homosexuals” (in many cases ...
... expression,” and in so doing, he “highlights the historical and political specificity of sexuality, both as a cultural concept and as a tactical device” (ibid.). Noting that “the term identity nowhere occurs” in Foucault's text ...
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內容
1 | |
1 Screening Homosexuality | 19 |
Ang Lees The Wedding Banquet | 41 |
Chen Kaiges Farewell My Concubine and Zhang Yuans East Palace West Palace | 69 |
Wong Karwais Happy Together | 99 |
The Poetics of Tsai Mingliangs Queer Cinema | 126 |
Stanley Kwan as Gay Director | 153 |
Conclusion | 180 |
Notes | 187 |
Filmography | 211 |
Glossary of Chinese Characters | 217 |
Works Cited | 221 |
Index | 241 |