Beautiful Publicity
An Introduction to Queer Asian Film
Bibliographic Data
| ID | 3641255 |
|---|---|
| Authors | Andrew Grossman (Rutgers, the State University of New Jersey, corresponding author) |
| Year | 2000 |
| Volume | 39 |
| Issue | 3-4 |
| Pages | 1-29 |
| Publication date | 2000-11-28 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Journal of Homosexuality (JOURNAL) |
| Journal identifiers | ISSN: 0091-8369 • E-ISSN: 1540-3602 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1300/j082v39n03_01 |
| PMID | 11133127 |
| OpenAlex | W2334073192 |
| Language | EN |
| Citations received | 3 |
With a few seemingly apolitical exceptions, openly queer cinemas have generally charted two opposing courses-a propagandistic search for bourgeois acceptance or a radical challenge to sexual hegemony. Yet even the most politically challenging of queer films, for example those of Pasolini, are nevertheless distributed and disseminated through the heteronormative and hegemonically capitalist means they philosophically oppose. This essay thus takes as its texts two low-budget gay male Japanese films of the 1980s, which have been made available on international home video, as opposing examples of politicoeconomic allegories enacted within the self-reflexive contexts of queer cinema and gay male political history. Taken together, the two films present an interlocking example of how Asian queer films both engage and refute "Eastern" and "Western" conceptions of homosexuality and sexual politics in general
Aesthetics · Art · Bourgeoisie · Censorship · Hegemony · Homosexuality · Human sexuality · Literature · Media studies · Movie theater · Political science · Politics · Publicity · Queer · Queer theory · Reflexivity · Social science · Sociology · Asian Culture and Media Studies · Gender Studies · Hong Kong and Taiwan Politics · Japanese History and Culture · Law
| Citations per year | 0.2 |
|---|---|
| Citation span | 2011 - 2021 (11) |
| Highly cited | No |