《文化研究月报》：近代亚洲电影中的酷儿

编辑：吴佳琪

2006年11月的《文化研究月报》，征求探讨亚洲（东亚及东南亚）电影及酷儿主题之学术论文或深度影评。本期月报欢迎各领域及各地学者针对以下或其他相关议题书写之稿件，中英文皆可。

＊ 与酷儿相关之本土或国际影展调查

＊ 前现代非异性恋之文化传统于电影中之再现

＊ 酷儿地景（queerscape）及电影独特视觉或风格之关系

＊ 酷儿主体性及其他身份认同政治之纠结或及冲突

＊ 国族主义及全球化发展与酷儿电影之关系

＊ 文化理论架构之重新诠释，有助了解近代亚洲电影中非异性恋情欲之呈现

＊ 酷儿与camp美学

＊ 酷儿电影与该国当地舆论、社会论述及运动之关系

来稿或询问请寄：

吴佳琪（国立台湾师范大学英语系助理教授）

jiaqiwu@yahoo.com

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, 2004) 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 raised by Asian cinema for queer theory or practice

* 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 culture

* 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

Cultural Studies Monthly (http://www.cc.ncu.edu.tw/~csa/journal/56/park_56.htm) 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

jiaqiwu@yahoo.com

(Assistant Professor, Department of English

University of National Taiwan Normal University)