GRS 5131

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1 CULS5220 Cross-Dressing and Hong Kong Cinema Dr. Natalia S.H. CHAN ( 洛楓 ) Tuesday: 6:45-9:30pm Venue: ELB 403 In her Imitation and Gender Insubordination, Judith Butler initiates her concept of gender performativity. She proclaims that gender is a drag, and it is an imitation and a performance that produces the illusion of an inner sex or psychic gender core. In other words, gender and sexuality is the production of self structured and motivated by various kinds of sociopolitical, cultural, racial and historical forces. Engaging the configuration of gender, sexual identity and body politics by Butler as well as other queer theorists such as Eve Kosofsky Sedgwick, Judith Halberstam, Mary Ann Doane and Marjorie Garber, this course is designed to investigate the cross-dressing and the gender-crossing of Hong Kong cinema in comparison with Western filmmaking. We will study the cross-dressers and their visual representations in both Chinese and Western cinema. Issues addressed include the historical construction of cross-dressing, the redefinition of masculinity and femininity of transvestites, the queer spectatorship of audience reception, gay and lesbian identities, homophobia and heterosexism, transsexualism and the discourse of AIDS. What we are going to interrogate is how clothes make gender and sexuality in cinematic representation and stage performance especially in martial arts genre and opera film. Each class meeting consists of lecturing, screening, students presentation and open discussion. Evaluation bases on a term paper and students presentation. Part I: History and Theory Week One: Historical Review of Cross-Dressing in Hong Kong Cinema -Introduction of course content, assignments & requirement -Arrangement of presentation topics & grouping Readings: - 周慧玲 : 中國早期現代劇場中的性別表演 1910s- 1920s - 周華山 : 易服政治經濟學 Screening: - 李鐵導演龍劍笙主演 : 三笑姻緣 (Ending Scene, 1975) - 關錦鵬 : 男生女相 : 中國電影的性別 (Part One, 1996) Week Two: Star Image & Gender Performativity Readings: -Richard Dyer: - Stars and Character - Stars and Performance -Judith Butler: Imitation and Gender Insubordination Screening: - 張國榮梅艷芳 : 芳華絕代 (Music Video) - 關錦鵬 : 男生女相 (Part Two, 1996)

2 Week Three: Spectatorship & Cinematic Effects Readings: -Mary Ann Doane: Film and the Masquerade: Theorizing the Female Spectator -Laura Mulvey: Visual Pleasure and Narrative Cinema Screening: -Josef von Sternberg & Marlene Dietrich: Morocco (Opening Scene, 1930) - 張國榮梅艷芳 : 胭脂扣 (Opening Scene, 1987) - 關錦鵬 : 男生女相 (Part Three, 1996) Part II: The Classical Canon Week Four: Cantonese Opera Film & Comedy 任劍輝 Readings: -Chris Straayer: Redressing the Natural : The Temporary Transvestite Film - 洛楓 : 拾釵人會薄命花 : 論李鐵紫釵記的電影美學 Film Discussed: - 任劍輝主演李鐵導演 : 帝女花 (1959) - 任劍輝主演蔣偉光導演 : 為情顛倒我為情 ( ) Week Five: Public Holiday Week Six: Aesthetics of Butch 梁無相 Readings: -Judith Halberstam: Looking Butch: A Rough Guide to Butches on Film. - 洛楓 : 西裝男人 : 論梁無相的酷少 (Butch) 本色 Film Discussed: 梁無相主演陳皮導演 : 夜夜念奴嬌 (1956) Special Screening: - 葛文輝導演 4 面夏娃之無色無相 Week Seven: Androgyny & Role-Playing 陳寶珠 Readings: -Virginia Woolf: A Room of One s Own (Chapter VI) -Julia Kristeva: The Androgynes Special Screening: 張國榮 : 鴛鴦舞王 (Music Video, 1986) Film Discussed: - 陳寶珠主演陳烈品導演 : 六指琴魔 (1965) - 陳寶珠主演李鐵導演 : 七彩胡不歸 (1966) **Presentation Topic: 黃梅調電影與凌波 Film: 李翰祥導演凌波主演 : 梁山伯與祝英台 Readings: - 王君琦 : 尋找台灣當代酷兒電影中梁山伯與祝英台及凌波熱論述之遺緒 - 焦雄屏 : 女性意識符號世界和安全外遇 : 記梁山伯與祝英台四十年 Recommended: 吳昊主編 : 古裝. 俠義. 黃梅調

3 Week Eight: Tomboyism & Unisex 馮寶寶 Readings: -Marjorie Garber: Fear of Flying, or Why is Peter Pan a Woman? -Judith Halberstam: Oh Bondage Up Yours! Female Masculinity and the Tomboy Film Discussed: 馮寶寶主演王風導演 : 飛俠小白龍 (1968) Recommended: 張柏芝主演葉偉信導演 : 小白龍情海翻波 (2004) **Presentation Topic: 女文武生與蕭芳芳 Film: 舒琪導演蕭芳芳主演 : 虎度門 Reading: - 焦雄屏 : 香港電影傳奇 : 蕭芳芳和四十電影風雲 Part III: Postmodern Body & Its Cultural Representation Week Nine: Lesbianism & Viewership 林青霞 (I) Readings: Chris Straayer: The Hypothetical Lesbian Heroine in Narrative Feature Film (R) 林青霞口述 : 永遠的林青霞 Film Discussed: - 林青霞主演李翰祥導演 : 金玉良緣紅樓夢 (1977) - 林青霞主演徐克導演 : 刀馬旦 (1986) **Presentation Topic: 多元成家與吳君如 Film: - 許鞍華導演吳君如主演 : 得閒炒飯 (2010) Reading: -TBC Week Ten: Transsexualism & Transvestism 林青霞 (II) Readings: -Marjorie Garber: Spare Parts: The Surgical Construction of Gender -Judith Halberstam: The Transgender Look - 游靜 : 歡迎大家收看 : 從東方不敗與金枝玉葉看女扮男裝的性別政治 - 周華山 : 東方不敗蝴蝶君喜宴與梁祝 Film Discussed: - 林青霞主演程小東導演 : 笑傲江湖 II 東方不敗 (1992) - 林青霞主演王家衛導演 : 東邪西毒 (1994) **Presentation Topic: 男扮女裝與喜劇電影 Films: - 劉鎮偉導演梁家輝主演 : 射雕英雄傳之東成西就 (1993) - 周星馳導演劉以達主演 : 大內密探零零發 (1996) - 杜琪峰導演劉德華主演 : 暗戰 (1999) Readings: TBC Week Eleven: Masculine Woman & Action Cinema 梅豔芳 (I) Readings: -Yvonne Tasker: Action Women: Muscles, Mothers, and Others

4 -Yvonne Tasker: Female Friendship: Melodrama, Romance, Feminism (R) 李展鵬卓男主編 : 最後的蔓珠莎華 Film Discussed: 梅豔芳主演杜琪峰導演 : 東方三俠現代豪俠傳 Screening: selected MV of Anita Mui **Presentation Topic: 京劇大師梅蘭芳 Readings: -TBC Week Twelve: Female Masculinity & Drag King 梅豔芳 (II) Readings: -Rebecca Bell-Metereau: Male Impersonation Before Judith Halberstam: An Introduction to Female Masculinity: Masculinity without Men Film Discussed: 梅豔芳主演杜琪峰導演 : 鐘無豔 (2001) **Presentation Topic: 新世代的性別易服表演者 Film: - 卓翔導演 : 乾旦路 Reading:-TBC Week Thirteen: Camp Culture & Drag Performance 張國榮 Reading: -Susan Sontag: Notes on Camp -Marjorie Garber: Breaking the Code: Transvestism and Gay Identity Screening: -Leslie Cheung s Concerts & MV (1980s-2002, HK) Film Discussed: 張國榮主演陳凱歌導演 : 霸王別姬 (1993) **Presentation Topic: 蝴蝶君 Film: -David Cronenberg 導演尊龍主演 : 蝴蝶君 M. Butterfly (1993) Readings: -Marjorie Garber: Phantoms of the Opera: Actor, Diplomat, Transvestite, Spy #Final Paper Due: Deadline TBC# Instructions: 1. Course Reader: There will be a complied package of all reading materials in PDF format. Students should make a copy of it by themselves, and finish the assigned readings before classes. 2. Students are expected to be open-minded in receiving new and/ or controversial ideas. A significant amount attention will be given to discussing the reading materials. Please be active and verbal within classroom. 3. Students, who commit academic dishonesty (for examples, plagiarism and cheating), will receive 0 mark and F grade.

5 4. Students who are absent from classes should be responsible for the make-up of class activities at their own discretion. Requirements and Assessment: Oral Presentation: Students are required to do an oral presentation in 30 minutes. It should be a critical-analytical presentation centering on the assigned topics and texts. By the way, all students are required to finish the assigned readings before classes and participate in classroom discussion. Final Paper: Students are required to submit a critical-analytical academic essay. It should be a critical study of cross-dressing in Hong Kong filmmaking, and must include an essay title and a list of reference. The paper can be written in Chinese or English in not more than 12 pages (typed & double-spaced). We DO NOT accept any electronic versions of papers. Students should print out their papers & submit the hard-copy. Late paper will be marked down for one point grade. No paper will be accepted after grade submission. Evaluation: Oral Presentation: 30% Paper/ Project: 70% Total: 100% Learning Outcomes * Textual and image analysis * Inter-cultural & multi-media sensitivity * Trans-disciplinary approach & critical skill * Historical and contemporary studies, including comparison and contrast * Cross cultural contexts, including local, regional, and global * Critical and creative thinking through integration of theories and practices * Literacy in different forms of visual, verbal & textual expressions * Cultural appreciation and cultural criticism * Communicative and presentation skills * Independent and contextualized research skills * Board-minded but strong in critical evaluation * Critical awareness to gender, class, racial, and national identities Honesty in Academic Work: A Guide to Students The Chinese University of Hong Kong places very high importance on honesty in academic work submitted by students, and adopts a policy of zero tolerance on cheating and plagiarism. Any related offence will lead to disciplinary action including termination of studies at the University. All student assignments in undergraduate and postgraduate programmes should be submitted via VeriGuide with effect from September 2008:

6 Although cases of cheating or plagiarism are rare at the University, everyone should make himself/herself familiar with the content of this website and thereby help avoid any practice that would not be acceptable. Details may be found at

sexual politics anti-sexist movement 4 Steve Neale 1983/1992 Laura Mulvey 1975 represent Nixon, Sean. Exhibiting Masculi

sexual politics anti-sexist movement 4 Steve Neale 1983/1992 Laura Mulvey 1975 represent Nixon, Sean. Exhibiting Masculi 7 narrative cinema gender discourse sex and gender image subject construction femininity masculinity 1972 Women and Film Claire Johnston Laura Mulvey E. Ann Kaplan biological sex sexual difference female