Abstract
By bringing together King Hu's classic Dragon Gate Inn, a haunted theatrical space of a bygone era, and a marginalized cruising ‘community’ of gay men, Tsai Ming-liang's Goodbye, Dragon Inn engages a politics of place to disrupt the seamless cooptation of nostalgia into the transnational capitalist structures and networks of cultural consumption. The film achieves this through Tsai's formulation of a cinematic aesthetics of lingering.
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