Posts Tagged ‘queer china’

Film Threat Reviews Queer China, ‘Comrade China’

Monday, July 19th, 2010

Queer China, 'Comrade China' (dir. Cui Zi'en)

By Isabella Tianzi Cai

In the online film journal Film Threat, Phil Hall recently reviewed Cui Zi’en’s ‘Queer China, Comrade China’, calling it “a genuinely fascinating look at Chinese sociology in a state of continual evolution.”

Hall’s review reiterates the issues raised in Cui’s work, which examines China’s LGBT culture and history through a number of insightful interviews from various political, historical, cultural, legal, as well as psychological viewpoints. He condenses the first half of the documentary as follows:

China was relatively late in openly acknowledging the basic civil rights of its homosexual population – it wasn’t until 1997 that the Communist government decriminalized “hooliganism,” as it was officially known. However, the acceptance of non-heterosexuals into a mainstream societal position has been complicated, although the resistance bears no resemblance to the religious-fueled homophobia that has become commonplace in the United States. Indeed, the film explains that same-sex unions are seen by many as a disruption of the yin-yang harmony within the Chinese mindframe and the disruption of the cohesive family unit that was stressed since Mao Zedong’s rise to power.

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Video: Queer China, ‘Comrade China’ Panel Discussion at Cinemasie Festival

Monday, June 28th, 2010

By Isabella Tianzi Cai

At CinemAsia Film Festival in Amsterdam this year, Chinese queer activist, writer, and filmmaker Cui Zi’en’s Queer China, ‘Comrade’ China was selected for an official screening followed by a panel discussion titled “Queer Asian Imagination.” The film was grouped with eight other LGBT films in the Queer and Asia program, a key component of CinemAsia. Cui met with the program attendees after the film and answered their inquiries about LGBT culture in China. Below are some YouTube videos documenting the Q&A session with Cui. Also present at the discussion were Michiel Baas from the International Institute for Asian Studies, Hong Kong filmmaker Kit Hung, CinemAsia board member Jeroen de Kloet, as well as Yang Jin, who appears in the film.  In the videos below, Cui’s answers in Chinese are omitted, but were spoken in English by a translator (seen in the orange shirt).

Cui points out one major difference distinguishing Chinese gay population from that elsewhere in the world. “Many young Chinese gay and lesbians, they also go to gay bars,” he says. “But one difference is in China, they also aspire to get married as heterosexuals. I think that’s one of the biggest difference.”

Cui also notes the tension between the state and gay cinema in China today. He says, “The law environment in China is very different in terms of filmmaking. There are thirteen prohibitions in China in terms of movie-making. One of them is that you are not allowed to make a gay-themed film. That’s why you can’t see gay-related films in mainstream cinemas or film festivals. Even a Hollywood movie like Brokeback Mountain, when they tried to enter the Chinese market, it was impossible.”

Part One:

More after the break.
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Berenice Reynaud Reviews Four New Chinese Films

Thursday, June 10th, 2010

Queer China, 'Comrade China' (dir. Cui Zi'en)

The newest issue of the online film journal Senses of Cinema features lengthy reviews by film scholar and Cal Arts professor Berenice Reynaud on new films from Mainland China. Titled  “Men Won’t Cry – Traces of a Repressive Past,” Reynaud covers a dozen international titles that screened at last fall’s Vancouver International Film Festival, giving special attention to four new films from the Mainland, as well as the Hong Kong feature Night and Fog by Ann Hui. Her analysis is particularly astute at discerning issues of identity, gender, power and nationhood in the formal approaches taken by each film. The following are some choice excerpts, though readers are advised to read Reynaud’s appreciations in full:

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The Potential (and Perils) of Online Video for the d-Generation

Friday, March 19th, 2010

Super, Girls! (dir. Jian Yi)

This recent article on CNN caught our eye, as it deals with what may be an emerging next wave of the digital filmmaking in China we at dGenerate heartily support. The article cites the explosion of user generated content on Chinese video sites like Youku and Tudou, which one analyst describes as ”An unleashing of creativity like the world has never seen.”

Here’s the skinny from the article:

While the bulk of the content on popular Chinese video sites consists of domestic and foreign movies and television programs, a growing share of material is coming from Chinese who are picking up cameras, filming the world around them and sharing it with others for the very first time.

This may not seem extraordinary elsewhere, yet the growth of user-generated content represents a major shift in the way China watches itself and the way the world watches China.

That last line resonates a lot with the mission of China’s dGeneration of filmmakers; thanks to the accessibility of digital video and their own mission to document issues that couldn’t pass through state censorship, these filmmakers brought a radical new element to China’s art and media landscape.  However, the ongoing challenge for these filmmakers has been to break out of a small, relatively confined circuit of underground festivals and other distribution channels in China, so that a greater audience can access these films and the important stories they uncover.

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Mr. Gay China Wins Prize in Worldwide Pageant

Tuesday, March 2nd, 2010

Xiaodai Muyi (photo courtesy of Worldwide Mr. Gay)

Following up on the saga that unfolded last month over the Mr. Gay China pageant, it turns out that after the pageant had been shut down by the Beijing police, the organizers of the event went ahead and sent a delegate to the Worldwide Mr. Gay competition in Oslo, Norway. The delegate went on to finish third runner up in the competition, which concluded February 14.

In an added twist, the delegate, Xiaodai Muyi, is a 25 year old Chinese Muslim from Xinjiang province. Xinjiang has long experienced social turmoil between ethnic Han and Muslim Chinese, that exploded into deadly riots last summer.

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Police Shut Down “Mr. Gay China”

Friday, January 15th, 2010

The Associated Press reports that police shut down China’s first ever gay pageant, “Mr. Gay China” an hour before it was set to begin.

Event organizer Ben Zhang relayed the cause given by the police: “”They said the content, meaning homosexuality, there’s nothing wrong with that, but you did not do things according to procedures.” But the AP report states that “Chinese police frequently cite procedural reasons for closing down gatherings deemed politically sensitive, and authorities have harassed gays in the past.”

Eight men were due to compete with each one hoping to be picked to go forward the Worldwide Mr Gay pageant in Norway next month.  The event was to include a fashion show, swimwear and talent competition, and a host in drag.

The organizers are considering having the judges select one contestant to send to the world competition.

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Gay Pageant Latest Chapter in Queer China

Thursday, January 14th, 2010
Image courtesy of Shanghaist

Image courtesy of Shanghaist

The Guardian reports on Mr. Gay China, the first gay pageant to ever be held in China:

“We are intelligent, we’re professionals, we’re gorgeous – and we’re gay,” said contestant Emilio Liu, from Inner Mongolia. “I want the audience to know there are a whole bunch of people like us living in China. It’s a wonderful life and it’s not hidden any more.”

These days there are gay support groups and websites helping people to explore their sexuality and meet potential partners. There are gay venues in most major cities; last year, the first government-backed bar opened in Kunming, in south-western Yunnan. Shanghai held the first Gay Pride week and in Beijing, campaigners called for same-sex marriages.

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Cui Zi’en Interview at 4th Beijing International Queer Film Festival

Friday, November 20th, 2009

We found an interesting video on Danwei.org, a website about media, advertising and urban life in China, in which reporter Jeremy Goldkorn interviewed Yang Yang and Cui Zi’en, organizers of the 4th Beijing International Queer Film Festival, at the festival’s opening on June 17, 2009. In this candid and humorous conversation, two of China’s leading queer activists talked about the history of the festival since its initiation as a student group event in 2001, the subtlety around the terms “homosexual,” “comrade” (tong zhi), and “queer” (ku er)–the last two were used as euphemisms to bypass the official surveillance–and the improvements (or the lack thereof) in gay rights in China.

Cui Zi’en introduced his film Queer China, ‘Comrade’ China, a pioneering documentary “[bringing] together forty of the most influential people in the movement from the past 30 years.” The film, now available for purchase and rental through dGenerate Films, was the closing documentary of the festival and the opening night film of 2009’s ShanghaiPRIDE, China’s first ever LGBT pride festival.

Video can be accessed after the break.

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Finding Ways to Fit: Mainland Chinese films at Toronto and Vancouver

Wednesday, November 18th, 2009

1428 (dir. Du Haibin)

1428 (dir. Du Haibin)

Part One: Toronto International Film Festival (September 10-19, 2009)

One looks to comprehensive film festivals, such as the Toronto International Film Festival (TIFF), for an overview of contemporary cinema that offers both breadth and depth. TIFF’s expansiveness, for example, allows one to make some judgments about the relative place of particular kinds of film in the world right now. I would like to try something of the sort with Mainland Chinese cinema in the context of TIFF, in particular how several new films might be situated in the world-cinematic scene.

Although Jia Zhangke seems in the process of retooling his cinema to head in new directions (though his public reaction, uncomfortably aligned with the Chinese government’s, to the Melbourne Film Festival Affair gives one pause), Jia-ist cinema, through its profound effect on most younger independent Chinese directors, seems lately more restrictive than liberating in its influence. Film language in “mainstream” indie Chinese films (both docs and features) seems to have temporarily congealed into something like formulaic liturgies: fetishization of the long take, the distant camera, the objective tone, the unedited minutiae of daily life.

At the same time, commercial Chinese film has adopted its own pathologies, giving us a series of big budget bloated historical epics cautiously tucked away, far from the sensitivities of the Film Bureau, into genres that are safely protected from any possible overt contemporary relevance. Several of these latter works found their way into TIFF, which has frequently, in the past ten years, extended a generous welcome to foreign fare that might attract the attentions of North American distribution. Since sword-wielding costumed Chinese actors sold in the past (thanks, Crouching Tiger Hidden Dragon and your progeny), they have gained a marketable sheen that TIFF is one of the key agents in promoting.

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Canadian Premiere of The Other Half

Wednesday, November 4th, 2009

the_other_half-thumbOn Friday, November 6, the Gibsone Jessop Gallery in Toronto, Canada, launches a screening series of contemporary Chinese films in partnership with dGenerate Films. This five film series will begin with Ying Liang’s The Other Half, “a fierce and harrowing cry of political rage.” (The New Yorker)

This marks the first in a five-film screening series at Toronto’s Gibsone Jessop Gallery.  Gibsone Jessop not only showcases international contemporary art from around the globe, with a special focus on China, they also host nightly events such as film screenings, theater and music that deepen the understanding of the cultures and context their artists create within.  The next five Fridays will highlight different dGenerate films.  Subsequent screenings include San Yuan Li, Little Moth, Using, and Queer China, ‘Comrade’ China.

Visit Gibsone Jessop’s site for more information about the event.

Friday, November 6, 2009, 7:30pm
To reserve tickets, please email info@gibsonejessop.com
Tickets: $10 in advance, $12 at the door
Limited Seating.

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