SCREEN-L Archives

September 2006, Week 2


Options: Use Monospaced Font
Show Text Part by Default
Show All Mail Headers

Message: [<< First] [< Prev] [Next >] [Last >>]
Topic: [<< First] [< Prev] [Next >] [Last >>]
Author: [<< First] [< Prev] [Next >] [Last >>]

Print Reply
Chun-Chi Wang <[log in to unmask]>
Reply To:
Film and TV Studies Discussion List <[log in to unmask]>
Wed, 13 Sep 2006 14:21:49 -0500
text/plain (70 lines)
Cultural Studies Monthly Call for Papers
Thinking Queer in Asian Cinema
Deadline: Oct 1, 2006
Guest Editor: Chia-chi Wu

As Brokeback Mountain revamps the iconography of one of the oldest 
American genres and scores box-office triumphs worldwide as an “art gay 
cowboy film”, contemporary filmmakers in Asia have also seemed to explore 
uncharted queer themes and redraw the art cinema/mainstream production 
divide. To name just a few examples, The King and the Clown (Lee Jun-ik, 
2005), an explicit gay-themed film set in pre-modern times, is said to be 
one of the highest grossing films in South Korea. Beautiful Boxer 
(Thailand, Ekachai Uekrongtham, 2003) and Splendid Afloat (Taiwan, Zero 
Chou, 2004) feature male protagonists with transvestite tendencies but 
engaging in professions of which macho-masculinity is considered as a 
quintessential constituent. Moreover, Butterfly (Hong Kong, Yan Yan Mak, 
2004) and The Intimates (Jacob Cheung, 1997) have exhibited, in strictly 
and legitimately female homoerotic terms, visible female-female sexuality 
that is probably unprecedented in Chinese language commercial productions. 
For its November 2006 issue, Cultural Studies Monthly is inviting essays 
or critical reviews on Asian films that evince various degrees and a wide 
range of queer sensibilities. The issue welcomes contributions (in English 
or Chinese) on related topics, but is not confined to the follows:

* new theoretical or conceptual frameworks in understanding queer emotions 
or desire in Asian cinema; or questions for queer theory or practice that 
Asian cinema raises

* queer subjectivities crisscrossed with other axes of identity formation 
or in relation to other structures of oppression, such as gender, class, 
race or ethnicity, age, etc..

* the figuring of nationality, transnationality or globality in queer 

* films that point to the ties between pre-modern queer traditions to 
contemporary eroticism

* queer and space, or “queerscape” as molded by peculiar cinematic 
visuality or stylistics

* survey of any local or international g/l/q film festival, either located 
in Asia or boasting a strong showcase of Asian queer films

* camp aesthetics

* films resonating with activism, public opinion or other social 
discourses on queer subjects

* film reviews

Cultural Studies Monthly is an online journal launched by CSA Taiwan 
(Cultural Studies Taiwan). It is a non-referential, non-peer-reviewed 
publication. Both English and Chinese submissions are welcome. Strong 
English submissions will also, upon the author’s approval, be submitted to 
Film Appreciation (dianying xinshang, published by Taipei Film Archive, 
its peer-reviewed film paper section) for its potential publication in 
Chinese translation.

Please send submissions to
Chia-chi Wu
[log in to unmask]
(Assistant Professor, Department of English,
National Taiwan Normal University)

Online resources for film/TV studies may be found at ScreenSite