Sinophone Queerness and Female Auteurship in Zero Chou’s Drifting Flowers

Research output: Contribution to journalJournal articleResearchpeer-review

Abstract

This article investigates the third instalment of the Taiwanese director Zero Chou’s tongzhi trilogy. It suggests that her 2009 film Drifting Flowers defies the “global gay” narratives of identity formation whilst remaining rooted in Taiwan’s cultural and geographical space. The article argues that the inter- and intratextual elements in Chou’s cinema position her as a Taiwanese queer auteur whose inclusive queerness points to new directions in not only New Queer Sinophone Cinema but also queer cinema globally
Original languageEnglish
JournalIAFOR Journal of Media, Communication & Film
Volume3
Issue number1
Pages (from-to)22-35
ISSN2187-0667
Publication statusPublished - 21 Jun 2016

Cite this

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title = "Sinophone Queerness and Female Auteurship in Zero Chou’s Drifting Flowers",
abstract = "This article investigates the third instalment of the Taiwanese director Zero Chou’s tongzhi trilogy. It suggests that her 2009 film Drifting Flowers defies the “global gay” narratives of identity formation whilst remaining rooted in Taiwan’s cultural and geographical space. The article argues that the inter- and intratextual elements in Chou’s cinema position her as a Taiwanese queer auteur whose inclusive queerness points to new directions in not only New Queer Sinophone Cinema but also queer cinema globally",
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Sinophone Queerness and Female Auteurship in Zero Chou’s Drifting Flowers. / Pecic, Zoran Lee.

In: IAFOR Journal of Media, Communication & Film, Vol. 3, No. 1, 21.06.2016, p. 22-35.

Research output: Contribution to journalJournal articleResearchpeer-review

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AB - This article investigates the third instalment of the Taiwanese director Zero Chou’s tongzhi trilogy. It suggests that her 2009 film Drifting Flowers defies the “global gay” narratives of identity formation whilst remaining rooted in Taiwan’s cultural and geographical space. The article argues that the inter- and intratextual elements in Chou’s cinema position her as a Taiwanese queer auteur whose inclusive queerness points to new directions in not only New Queer Sinophone Cinema but also queer cinema globally

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