ABSTRACT
However, the theoretical grammar of postcoloniality in Hong Kong often re-inscribes the city within the triangular deadlock of China-Britain-global capitalism. Through the visuality of queer Sinophone transnationalism, Hong Kong cinema remaps postcoloniality through the roots and routes of queer global intimacies and geographies. While queer Hong Kong cinema offers visual pleasure that partakes in disorienting temporality and South–South trajectory, an emergent body of queer Hong Kong films also turn inward from queer transnationalism into the actual timespace of postcolonial Hong Kong. To account for queerness, sexuality, coloniality, and capitalism in our study of Hong Kong is to engage in creative comparison that entangles Hong Kong with the world through alternative methods of reading and queer genealogies. A queer Sinophone intervention demands nothing short of this task.
