Backward Glances: Contemporary Chinese Cultures and the Female Homoerotic Imaginary

admin — Tue, 13 Jul 2010 08:00:00 +0000

The study of female homoeroticism in Chinese media is a small yet evolving academic discipline. It is, therefore, of great importance that Backward Glances was written. Exploring popular media produced during the twentieth and twenty-first centuries in the People’s Republic of China, Hong Kong, and Taiwan, author Fran Martin addresses the ways in which same-sex love between women is commonly depicted, and the ways in which those depictions simultaneously reinforce and challenge the conventional discourse on homosexuality in China.

On the surface, many of the novels, television dramas, and films Martin analyzes do not appear to be particularly transgressive. A common theme among the media she explores is memory; stories of same-sex desire between women are often presented as a fleeting childhood fantasy, something that perpetually exists in the past and can never be fully realized by adults in the present. This memorial mode is also tied to what Martin calls the “going-in" story. Unlike “coming-out” narratives, which depict homosexual identity as the final stage of an individual’s struggle with sexual identity, “going-in” stories start with same-sex desire and end with heterosexual marriage. None of these tropes disturb the status quo of Chinese society, where homosexuality remains incredibly stigmatized.

But Martin contends that there is more to these texts than immediately meet the eye. The protagonists of these stories tend to be overly feminine schoolgirls who fall in love with other feminine girls or tomboys. When that love is not ultimately realized, the lead femme becomes sad and nostalgic, leading to her remembering and recounting the story of her love over and over again. The stories are written so that the audience will identify with the lead femme character; as a result, homoerotic attraction is represented as a natural, universal feminine quality. It is depicted as tragic, if inevitable, when such love is not actualized, and the audience is meant to share in that sadness. Although few of the texts discussed disrupt Chinese societal order by depicting a fulfilled, long-term romantic relationship between women, the depictions of love between women as idyllic, universal, and tragic when prevented from closure suggest an innate acceptance of homosexuality as something natural and expected in young women, if also socially taboo.

What is particularly interesting is the contrast between the complex and, at times, subversive images of love between women in Chinese popular culture and the lack of acceptance of actual lesbianism in Chinese society. Martin frequently mentions this discrepancy, though she rarely explores it as it might relate to pro- or anti-LGBTQ legislation in China. Her primary focus is on the media itself, rather than the ultimate significance of the media in a real-life political context. I most appreciated Backward Glances when it touched upon the audience responses to the texts. Should a follow-up be written, Martin may want to explore the interactions between the viewers and the texts in greater detail, as a way of exploring the impact homoerotic media has (or could have) on Chinese politics and queer acceptance in China.

Though academic in style, Backward Glances is quite approachable. Written as a scholarly text, it can also be of interest to and easily enjoyed by anyone interested in the topics of queer representation, media, and Chinese culture. The book covers a wide range of material, but never feels overwhelming or dense. It may not remain the definitive text on the subject, but until one exists, Backward Glances is a well-written, critical exploration of a newly emerging field of study.

Cross-posted at Gender Across Borders

Written by: Carrie Polansky, July 13th 2010

AsiaPacifiQueer: Rethinking Genders and Sexualities

admin — Thu, 19 Feb 2009 11:53:00 +0000

By Fran Martin, Peter A. Jackson, Mark McLelland, Audrey Yue

University of Illinois Press

Aside from a women’s studies class I took as an undergraduate, of which I remember very little, thoughts on gender and sexuality typically have not taken up much of my time. AsiaPacifiQueer: Rethinking Genders and Sexualities totally changed my perception on these subjects. As a self-proclaimed tomboy, who happens not to be a lesbian, society is much more accepting of my “ways” than they would be if I were an effeminate man. The essays and examinations gathered here by the editors take this subject to an infinitely crucial level in understanding what it means to fall outside of another proverbial box, from a non-Western cultural perspective.

AsiaPacifiQueer brings into focus the dynamics of colonialism, language, and religion, and their shaping of a particular culture seeking to understand itself. It begins with post-World War II Japanese homosexuality and its manifestations through an occupational perspective. In this essay, white collar and working class occupations both play a major role in how work ethic is portrayed in shaping masculinity. This masculinity still finds prevalence in male-male companionship, as evidenced by its over-representation in personal advertisements for male-male companionship.

The essay “Grrrl-Queens” by Clare Maree captures the use of how Japanese language is used not only as a powerful tool with which to communicate across gender lines, but also as a means in which to protest traditional uses of expected gendered communication. One-kotoba is considered a type of language and speech pattern used traditionally by gay men, and is "a parody of stereotypical women’s language," considered to be a hyperfeminine style of speech. However, it is purposely used by some lesbian women as an act of resistance to stereotypes of the "butch" lesbian.

In Kam Yip Lo Lucetta’s essay, "Recognition Through Mis-Recognition," the concept of masculine women in Hong Kong is one of a right of passage. Tomboyism is considered a phase that teenage girls go through before maturing to femininity. It does not generate as much anxiety and can even bring benefits in the workplace (the capable worker), provided it is temporary. Needless to say, for those who continue this phase on through womanhood, it represents a failed woman and a disqualified adult.

AsiaPacifiQueer represents a critical discourse though works that are about more than just queer studies. It opens up a much needed dialogue on how society uses gender and sexuality to dictate its economic, creative, and interpersonal relationships with its every conceivable contact. It is inevitable that in this examination, given the aforementioned hopes, it should create a wider spectrum with which to reevaluate the relationship between gender and sexuality.

Written by: Olupero R. Aiyenimelo, February 19th 2009