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.

part I|16 pages


chapter 1|14 pages

“A volatile alliance”

Queer Sinophone synergies across literature, film, and culture
ByAri Larissa Heinrich

part II|47 pages

New chronotopes

chapter 2|33 pages

(De)Provincializing China

Queer historicism and Sinophone postcolonial critique
ByHoward Chiang

chapter 3|12 pages

Unraveling the apparatus of domestication

Zhu Tianxin's “The Ancient Capital” and queer engagements with the nation-state in post-martial law Taiwan
ByYin Wang

part III|41 pages

The remake

chapter 4|17 pages

From flowers to boys

Queer adaptation in Wu Jiwen's The Fin-de-siècle Boy Love Reader
ByTze-lan D. Sang

chapter 5|22 pages

Sinophone erotohistories

The Shaw brothers' queering of a transforming “Chinese dream” in Ainu fantasies
ByLily Wong

part IV|40 pages

Queering kinship

chapter 6|21 pages

Queer Sinophone studies as anti-capitalist critique

Mapping queer kinship in the work of Chen Ran and Wong Bik-wan
ByAlvin Ka Hin Wong

chapter 7|17 pages

A queer journey home in Solos

Rethinking kinship in Sinophone Singapore
ByE.K. Tan

part V|29 pages

Tsai Ming-liang

chapter 8|11 pages

Theatrics of cruising

Bath houses and movie houses in Tsai Ming- liang's films
ByGuo-Juin Hong

chapter 9|16 pages

Queerly connecting

The queer Sinophone politics of Tsai Ming-liang's I Don't Want to Sleep Alone
ByKenneth Chan

part VI|44 pages

A volatile alliance

chapter 10|22 pages

Desire against the grain

Transgender consciousness and Sinophonicity in the films of Yasmin Ahmad
ByWai Siam Hee, Ari Larissa Heinrich

chapter 11|20 pages

Queer affiliations

Mak Yan Yan's Butterfly as Sinophone romance
ByAndrea Bachner

part VII|5 pages


chapter 12|3 pages

On the conjunctive method

ByShu-mei Shih