ABSTRACT
In this chapter, the author begins with the recognition of the impossibility of envisioning "Queer Experimental Asian American Media" as a coherent category of media production, and instead takes the incoherence of the category as a productive lens through which to understand the function and status of certain visual and formal signifiers within Asian American media art practice. She examines the terms of the larger title ("queer", "experimental", "Asian American") through specific texts in order to understand some of the ways that each component modifies and illuminates the others. The author considers some texts that include Chinese Series, the last film made by Stan Brakhage, and Doom Generation and Splendor, two "heterosexual" films by queer Japanese American director Gregg Araki. Stan Brakhage would seem an obvious choice to illustrate the keyword "experimental", as he is widely considered to be the father of American experimental cinema.
