This chapter considers Hong Kong’s particular socio-historical context since the 1960s, which has been imperative to the diffusion of a local mass camp impulse characterized by a self-conscious, often parodic attitude toward the artifice of conventions, particularly those associated with art, gender behavior, and media representation. It then investigates the particular ways in which mass camp has at once informed and been informed by Hong Kong mainstream cinema from the 1970s onward. A crucial point made throughout lies in the intimate relationship between mass camp and the proliferating gender parody of contemporary Hong Kong cinema, culminating in films of the early 1990s (e.g. Swordsman II). This process, importantly, has also been coupled with the critical articulation of camp discourse since the mid-to-late 1970s.
{"title":"Mass Camp in Contemporary Hong Kong Cinema","authors":"S. Chao","doi":"10.2307/j.ctv15vwkcc.7","DOIUrl":"https://doi.org/10.2307/j.ctv15vwkcc.7","url":null,"abstract":"This chapter considers Hong Kong’s particular socio-historical context\u0000 since the 1960s, which has been imperative to the diffusion of a local\u0000 mass camp impulse characterized by a self-conscious, often parodic\u0000 attitude toward the artifice of conventions, particularly those associated\u0000 with art, gender behavior, and media representation. It then investigates\u0000 the particular ways in which mass camp has at once informed and been\u0000 informed by Hong Kong mainstream cinema from the 1970s onward. A\u0000 crucial point made throughout lies in the intimate relationship between\u0000 mass camp and the proliferating gender parody of contemporary Hong\u0000 Kong cinema, culminating in films of the early 1990s (e.g. Swordsman II).\u0000 This process, importantly, has also been coupled with the critical articulation\u0000 of camp discourse since the mid-to-late 1970s.","PeriodicalId":397544,"journal":{"name":"Queer Representations in Chinese-language Film and the Cultural Landscape","volume":"521 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116195268","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2010-06-01DOI: 10.5790/HONGKONG/9789622099876.003.0010
S. Chao
This chapter focuses on Tang Tang (Zhang Hanzi, 2004) and Mei Mei (Gao Tian, 2005), two Chinese documentaries. Although each documentary centers around a female impersonator, they approach their subjects in distinct ways. While Mei Mei portrays its subject with nuance and intense emotional investment, Tang Tang emphasizes formal experimentation. Positioning Tang Tang at the intersection of what I call the film’s “performing documentary” and the subject’s “performance of gender,” I argue that the reflexivity permeating Tang Tang foregrounds the openness of the queer subjectivities it portrays. My investigation further addresses each film’s subjects as human beings materialized in and through a matrix of social, political, and economic conditions marked by spatial and temporal parameters.
{"title":"Performing Gender, Performing Documentary in Postsocialist China","authors":"S. Chao","doi":"10.5790/HONGKONG/9789622099876.003.0010","DOIUrl":"https://doi.org/10.5790/HONGKONG/9789622099876.003.0010","url":null,"abstract":"This chapter focuses on Tang Tang (Zhang Hanzi, 2004) and Mei Mei (Gao\u0000 Tian, 2005), two Chinese documentaries. Although each documentary\u0000 centers around a female impersonator, they approach their subjects in\u0000 distinct ways. While Mei Mei portrays its subject with nuance and intense\u0000 emotional investment, Tang Tang emphasizes formal experimentation.\u0000 Positioning Tang Tang at the intersection of what I call the film’s “performing\u0000 documentary” and the subject’s “performance of gender,” I argue that\u0000 the reflexivity permeating Tang Tang foregrounds the openness of the\u0000 queer subjectivities it portrays. My investigation further addresses each\u0000 film’s subjects as human beings materialized in and through a matrix of\u0000 social, political, and economic conditions marked by spatial and temporal\u0000 parameters.","PeriodicalId":397544,"journal":{"name":"Queer Representations in Chinese-language Film and the Cultural Landscape","volume":" 10","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2010-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120831355","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2006-05-10DOI: 10.1163/9789004335868_017
E. Hsu
{"title":"Chinese Glossary","authors":"E. Hsu","doi":"10.1163/9789004335868_017","DOIUrl":"https://doi.org/10.1163/9789004335868_017","url":null,"abstract":"","PeriodicalId":397544,"journal":{"name":"Queer Representations in Chinese-language Film and the Cultural Landscape","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2006-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127613516","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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