Trans on Screen

Leung, Helen Hok‐Sze

doi:10.1057/9781137082503_7

Cited by 7 publications

(5 citation statements)

References 9 publications

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“…‘It’s not a matter of whose gender is variable and whose is fixed’, Halbertsam (2018) explains, ‘the term “trans*” puts pressure on all modes of gendered embodiment and refuses to choose between the identitarian and the contingent forms of trans identity’ (p. xiii). This type of understanding echoes with other scholarly discussions of trans issues in Asian contexts (Aizura, 2006; Aizura et al, 2014; Chiang, 2012; Jackson, 2010; Leung, 2012b; F. Martin & Ho, 2006; Stryker, 2012).…”

Section: Becoming Transsupporting

confidence: 74%

“…In recent decades, some scholars have brought sexuality and queer theory into critical dialogue with the study of transnational Chinese cinemas. Researchers have demonstrated complex relationships between national identities, gender and sexual identities, and the queer sense of belonging (Bao, 2010a, 2010b, 2015, 2017, 2018a, 2018b; Berry, 1998, 2000, 2001, 2004; Chao, 2010a, 2010b; Fan, 2016; Leung, 2004, 2008, 2011, 2012a, 2012b; Lim, 2006; F. Martin, 2000; Pecic, 2016; Robinson, 2015; Shaw & Zhang, 2017; Tan, 2016; Yue, 2012).…”

Section: Chinese Cinema As Transnational Cinemamentioning

confidence: 99%

“…Martin & Ho, 2006; Stryker, 2012). Noting a critical tendency in theoretical discourse to go beyond the nominal understanding of transgender as an identity and as the naming of a specific group of people, Leung (2012b) suggest seeing the study of transgender representation in Chinese-language cinema as ‘an exercise in locating moving targets’ (p. 185). I follow these scholars in understanding trans as a verb and a critical method, applied in critical analysis to interrogate how gendered embodiments are assembled, disassembled and reassembled under certain power configurations and with intersections of other determinants.…”

Section: Becoming Transmentioning

confidence: 99%

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‘Shanghai is burning’:Extravaganza, transgender representation and transnational cinema

Bao

2018

Global Media and China

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This article offers a critical analysis of Matthew Baren's 2018 film Extravaganza, a documentary about drag scenes in Shanghai. By focusing on some drag performers represented in this film, in tandem with an examination of the social and industry contexts of the film, as well as my interviews with the filmmaker and performers, I problematise the gender identity of the performers and the national identity of the film. Drawing on Deleuze and Guattari's notion of 'becoming' and Song Hwee Lim's discussion of 'trans', I propose to think about certain modes of transnational production with the critical concept of 'becoming trans'. 'Becoming trans' offers a productive way of conceptualising new modes of 'minor' transnational cinematic connections in a globalised world without having to resort to identity politics.

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Section: Becoming Transsupporting

confidence: 74%

Section: Chinese Cinema As Transnational Cinemamentioning

confidence: 99%

Section: Becoming Transmentioning

confidence: 99%

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‘Shanghai is burning’:Extravaganza, transgender representation and transnational cinema

Bao

2018

Global Media and China

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“…Although a transgender population exists in most cultures, such as the hijara in India (Chakrapani, Shunmugam, Newman, Kershaw, & Dubrow, 2015;Kalra, 2012), and kathoey (Winter, 2006) or sao braphet song (Costa & Matzner, 2007) in Thailand, cultural and religious factors that are established against transsexuals (Bucar, 2010;Wood & Conley, 2014) affect their mental wellness and quality of life (Yadegarfard, Ho, & Bahramabadian, 2013). Transgender-related descriptions are not rare in Chinese classical literature (Liang, 2012;Liang & Xu, 2012) and theatrical arts (Leung, 2012;Li, 2003;Wu, 2012a). Cross-gender acting was prevalent in ancient China (He, 2014;Kile, 2013), presenting gender fluidity (Zhou, 2012) in folk entertainment.…”

Section: Introductionmentioning

confidence: 99%

A Marathon Search for My Deserved Body: How a Chinese Male-to-Female Manages Gender Nonconformity

Cheng¹

2020

GENEROS

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The hegemony of dichotomous gender identity dominates the discourse on the issues of sex and gender. Through this means, irrational fear brings about prejudice, stigmatisation, discrimination, and exclusion towards individuals who suffer from gender nonconformity. Despite relevant substantial literature, there is a paucity of research on Chinese transgender people. This case study investigates how a Chinese trans-woman deals with her gender incongruence and anxiety through sex realignment surgery. It conducts in-depth, semi-structured interviews, and processes data by means of interpretative phenomenological analysis, with the help of a computerised qualitative data analysis package. It also carries out member checking to enrich triangulation effects. The results unmask the way the participant is being incrementally liberated from being a pretend man in her current state of half-man-non-woman, and her efforts in achieving the gender that she desires. This study reveals factors that influence the embodiment of bodily integrity and psychological adjustments against distress induced by gender nonconformity, therefore supporting the development of a gender-affirming society that benefits both individuals and public interests.

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“…Trans scholars like Viviane Namaste have taken Garber to task for conceiving of transvestism as an exclusively rhetorical device and "undermin[ing] the possibility of 'transvestite' as a viable identity in and of itself" (Namaste 2000, 14-15). More recently, scholars have begun to investigate transgender cinematic aesthetics in American and Chinese media (Halberstam 2005;Keegan 2015Keegan , 2016aLeung 2012Leung , 2014 and the aesthetic strategies of particular American and European trans filmmakers (Ford 2016;Muñoz 1999;Steinbock 2011Steinbock , 2014. Some trans scholars have also begun to investigate trans people's experiences as spectators (Clayman 2015;Keegan 2016b;Williams 2011).…”

mentioning

confidence: 99%

Cross-Dressing and Transgender Representation in Swedish Cinema, 1908–2017

Horak¹

2017

European Journal of Scandinavian Studies

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Today's explosion of Swedish films made by and about transgender people is sometimes considered in a vacuum. This article explores the long history of cross-gender performance in Swedish cinema and the relationship of these new films to older traditions. In this article, I will outline the contours of cross-gender performance in Swedish films from the 1908 to today, using some exemplary films to display the variety of styles, genres, and meanings that can be found , 2016). I will show that the two main shifts in Swedish cinema's representation of cross-gender performance occurred in the mid-1950s and in the 1990s, due to social changes and changes in the structure of the Swedish film industry. In Swedish cinema, as elsewhere, cross-dressing has never meant any one thing, so we must attend to the specific contexts of its expression in order to understand what it meant. "It's as if I'm destroying myself. To become her. My dream sister: Ellie," speaks the voice on the soundtrack. A young person lies in a bathtub. We cut to a view through a fence of a dark landscape, a pink sky glowing over empty railroad tracks. The voice belongs to the protagonist of Everything Falls Apart (Nånting måste gå sönder, Ester Martin Bergsmark, 2016), played by Swedish trans actor Saga Becker. It guides us through the character's haphazard search for sex, love, and meaning. Although transgender and gender non-conforming characters have only entered Swedish cinema in recent decades, Swedish cinema has a long history of cross-gender performance.

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Trans on Screen

Cited by 7 publications

References 9 publications

‘Shanghai is burning’:Extravaganza, transgender representation and transnational cinema

‘Shanghai is burning’:Extravaganza, transgender representation and transnational cinema

A Marathon Search for My Deserved Body: How a Chinese Male-to-Female Manages Gender Nonconformity

Cross-Dressing and Transgender Representation in Swedish Cinema, 1908–2017

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