Queer and Transgender Representations in Chen Kaige’s 1990s Films

DOI: https://doi.org/10.62517/jnme.202410418

Author(s)

Menghan Wang

Affiliation(s)

Department of SELCS, University College London, London, WC1E 6BT, United Kingdom

Abstract

This paper analyses the queer and transgender representations in Chen Kaige’s films from the 1990s, highlighting their significance in the context of mainland Chinese queer cinema. The decade marks a crucial turning point, with Chen’s Farewell My Concubine (1992) emerging as a foundational work that navigates complex narratives of homosexual identity and cross-dressing through its protagonist, Cheng Dieyi (Leslie Cheung Kwok Wing). Subsequent films, including Temptress Moon (1996), The Emperor and the Assassin (1999), and The Promise (2005), further explore themes of gender fluidity and the dismantling of traditional gender norms, reflecting the avant-garde spirit of queer theory. By integrating diverse artistic expressions, these films challenge entrenched patriarchal structures while offering a nuanced examination of love, identity, and power dynamics. This study ultimately illustrates how Chen’s cinematic contributions have shaped the discourse surrounding queer identities in contemporary Chinese culture.

Keywords

Queer Cinema; Transgender Representation; Chen Kaige; Gender Fluidity; Homosexual Identity; Mainland Chinese Cinema

References

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