Abstract
This article examines the conditions involved in screening Chinese queer short films publicly in the context of film festivals in mainland China, using the Beijing International Short Film Festival (BISFF) as a case study. Through a critical analysis of the BISFF’s operational and programming strategies, in tandem with interviews with the festival director, this article examines the conditions and possibilities of the festival’s queer-friendly stance. It argues that the BISFF functions as an alternative site for the exhibition and circulation of Chinese queer shorts in China due to complex stakeholder configurations under contingent historical and social contexts. Focusing on expanding the theoretical discussion of the relationship between stakeholder framework and state censorship, this article challenges the popular argument about the state’s blanket ban on queer films and contributes to a more nuanced understanding of the conditions of the possible development of the circulatory/exhibition network of Chinese queer shorts in China.
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