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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... seen as a response, if not a reaction, to the concept of “Cultural China” proposed by Tu.6 The question of Chineseness, I would argue, is inescapably political on many levels.7 In geopolitical and territorial terms, there is no denying ...
... seen as the effectsof sexual discourses that not only distinguish one from the other, but also, by mobilizing this distinction, impose an arbitrary marker that separates the two concepts as mutually exclusive. For Halperin, his intent ...
... seen as a consequence of the term providing a timely discursive language for the films, it can also be argued that, on the contrary, these films have created a platform for the extensive use of the new discursive language, thus ...
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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 |