In my school days, I was given the nickname of Lao Bao (literally ‘Old Bao’) by my peers, possibly because of my relative mature look and outlook compared to many of them. I was extremely introvert back then, but books and films provided me with a safe shelter where I could feel at home. I loved reading books and watching films, lots of them, even though my choices were extremely limited in these days. Perhaps as a result, I became extremely short-sighted, and my glass prescriptions increased year by year. My classmates often wanted to try my glasses on, curious to find out what the world might look like through these thick lenses. I had a little secret: the glasses I wear are unusual: they help me see things in a different way; everything I see is filtered through a queer lens — that is, my own sexuality and my understanding of queer theory.
Queer Lens is a column dedicated to the study and discussion of queer cinema. It primarily comments on different aspects of Chinese-language queer cinema, especially queer indies. It also covers other aspects of Chinese queer culture and other types of Chinese indie cinema, all from the perspective of gender and sexuality. The column consists primarily of short blog-style essays, interviews with queer artists and filmmakers, film reviews, and book reviews. I also use this column to document a brief history and trace the development of Chinese queer cinema, and at the same time reflect critically on people, societies, and intimacies from the prism of queer cinema. You are welcome to put on my magical glasses; enjoy the experience!
Queer Lens also welcomes original contributions on queer cinema and culture around the world from other authors. These contributions can take various forms: essay, op-ed, film review, film festival and art exhibition review, and so on. If you have a proposal, please Email Hongwei Bao or CIFA.
Please see Bao Hongwei’s Critic’s Collection.
It’s Lunar New Year! Queer Lens is pleased to have Yi Wang with us talking about the Queer East film festival he has been organising in the UK since last year. Event organisers like Wang himself are faced with a lot of challenges brought about by the ongoing global pandemic, but they remain optimistic about the future of queer films and LGBTQ rights in East and Southeast Asia; they are also deeply committed to queer worldmaking through films across nations and cultures. Happy New Year and best wishes to all!
For our first column article in 2021, it is our great pleasure to introduce the Inside/Out: LGBTQ+ Representation in Film and Television exhibition that took place at the Tsubouchi Memorial Theatre Museum, Waseda University, Japan, from 28 September, 2020 to 15 January 15, 2021. The curator Dr Yutaka Kubo writes about the exhibition.
In this three-part video interview, Xiaogang Wei, queer filmmaker and activist, talked about his experience of making queer films and participating in LGBTQ activism in China.
The following online interview was conducted between Popo Fan and Hongwei Bao (Associate Professor in Media Studies, University of Nottingham) on 20 November 2020. In this three-part interview, Popo Fan talked about his life, filmmaking career, and the queer activism in which he has participated.
When I started to create a playlist on Chinese queer cinema, I was immediately confronted with some big questions: What is Chinese? What is queer? What is cinema? …
In this interview, queer feminist activist Susie Jolly talks about her life in Beijing in the 1990s. The interview reveals a burgeoning urban queer culture in the formative years of the queer community and activism in post-Mao China.
‘Creating an Experimental Space for Queer People in the Global South’: An Interview about the African Queer University Programme Cinema
The following interview about the African Queer University Video Capacity Building Training Programme (African Queer University Programme for short) (2017-2019) was conducted in August and September 2020 between Hongwei Bao and Xiaogang Wei, founder of Queer University.
Discussing the locality, globality and post-coloniality of Chinese queer images is of great practical significance. These are the discourse environment and power relations faced by the current situation and development of Chinese independent films.