Between Real and Unreal: Representability and Auteurship in Queer Hong Kong Cinema
The chapter looks at two auteurs of Hong Kong queer independent cinema. It argues that their works blur the lines between what is real and what is unreal, complicating the notions of representability in queer Hong Kong cinema. The chapter suggests that Scud’s 2010 film Amphetamine frustrates and alienates viewers, and by undermining the “gay film” genre, forces them to rethink their relationship with the film. The chapter also argues that Kit Hung’s Soundless Wind Chime (2009), whilst offering a similar method of subverting the gay film genre, employs slowness as a way of thwarting the viewer’s expectations. Finally, the chapter suggests that intertextuality in Soundless Wind Chime establishes Hung as a queer auteur whose work references and continues the Sinophone cinematic tradition.
KeywordsScud Kit Hung Amphetamine Soundless Wind Chime Tsai Ming-liang Li Xianglan The Hole (Dong) Hong Kong independent cinema
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