Sinophone Queerness and Female Auteurship in Zero Chou’s Drifting Flowers

Download (PDF, 401KB)

Author: Zoran Lee Pecic, Roskilde University, Denmark
Published: June 2016
https://doi.org/10.22492/ijmcf.3.1.03

Citation: Pecic, Z. L. (2016). Sinophone Queerness and Female Auteurship in Zero Chou’s Drifting Flowers. IAFOR Journal of Media, Communication & Film, 3(1). https://doi.org/10.22492/ijmcf.3.1.03


Abstract

This article investigates the third instalment of the Taiwanese director Zero Chou’s tongzhi trilogy. It suggests that her 2009 film Drifting Flowers defies the “global gay” narratives of identity formation whilst remaining rooted in Taiwan’s cultural and geographical space. The article argues that the inter- and intratextual elements in Chou’s cinema position her as a Taiwanese queer auteur whose inclusive queerness points to new directions in not only New Queer Sinophone Cinema but also queer cinema globally.

Keywords

Zero Chou, tongzhi trilogy, tomboyism, Drifting Flowers, intertextuality