ABSTRACT
The Sinophone framework emphasises the diversity of Chinese-speaking communities and cultures, and seeks to move beyond a binary model of China and the West. Indeed, this strikingly resembles attempts within the queer studies movement to challenge the dimorphisms of sex and gender.
Bringing together two areas of study that tend to be marginalised within their home disciplines Queer Sinophone Cultures innovatively advances both Sinophone studies and queer studies. It not only examines film and literature from Mainland China but expands its scope to encompass the underrepresented ‘Sinophone’ world at large (in this case Taiwan, Hong Kong, Malaysia, Singapore, and beyond). Further, where queer studies in the U.S., Europe, and Australia often ignore non-Western cultural phenomena, this book focuses squarely on Sinophone queerness, providing fresh critical analyses of a range of topics from works by the famous director Tsai Ming-Liang to the history of same-sex soft-core pornography made by the renowned Shaw Brothers Studios.
By instigating a dialogue between Sinophone studies and queer studies, this book will have broad appeal to students and scholars of modern and contemporary China studies, particularly to those interested in film, literature, media, and performance. It will also be of great interest to those interested in queer studies more broadly.
TABLE OF CONTENTS
part I|16 pages
Introduction
chapter 1|14 pages
“A volatile alliance”
part II|47 pages
New chronotopes
chapter 3|12 pages
Unraveling the apparatus of domestication
part III|41 pages
The remake
chapter 4|17 pages
From flowers to boys
chapter 5|22 pages
Sinophone erotohistories
part IV|40 pages
Queering kinship
chapter 6|21 pages
Queer Sinophone studies as anti-capitalist critique
part V|29 pages
Tsai Ming-liang
chapter 9|16 pages
Queerly connecting
part VI|44 pages
A volatile alliance
chapter 10|22 pages
Desire against the grain
part VII|5 pages
Afterword