Abstract
ABSTRACT I have designed this essay as a general overview of the self-evident trend towards queer subject matter in the past decade in Hong Kong film, a trend that not only coincides historically with the 1997 handover to the Mainland but also frequently comes equipped with parent-child relationships that can be read as allegories for the colony's future as the “child” to its mother country. Queerness in HK films has both alternated between and combined indigenous forms of queerness and the imported Western variety; by charting courses through internationalized concepts of homosexuality, HK films have posited their queerness not only as an existential allegory of (post)colonialism but also as a claim (or hope) for a utopian sexuality cum utopian international politics.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a call
