Abstract
This paper investigates the transnational intersections of queer Sinophone screen cultures in (South) East Asia, through a case study of the emerging film director Desmond Bing-Yen Ti. The discussion focuses on Ti’s short film production and distribution in two Asian countries, Malaysia and China, and his engagement with online (queer) social media and video-sharing services in the trans-Sinitic and global flows of queer visual content. Putting Ti and his film at the intersections between queer studies and Sinophone studies, this paper also aims to further test and render problematic the theory of 'queer Sinophonicities' as both an extension and a departure from traditional queer Asian critique.
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