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  1. A100 文学部/人文学研究科・文学研究科・国際言語文化研究科
  2. A100b 紀要
  3. 名古屋大学人文学フォーラム
  4. 2

コメディ化されるジェンダー越境とクィア性 : 香港映画『鐘無艶』の異性装を中心に

https://doi.org/10.18999/humfnu.2.189
https://doi.org/10.18999/humfnu.2.189
ae6e26a7-9620-4558-9443-c3925e3cbe8b
名前 / ファイル ライセンス アクション
humfnu_2_189.pdf humfnu_2_189.pdf (1.5 MB)
Item type 紀要論文 / Departmental Bulletin Paper(1)
公開日 2019-04-15
タイトル
タイトル コメディ化されるジェンダー越境とクィア性 : 香港映画『鐘無艶』の異性装を中心に
その他のタイトル
その他のタイトル Transgressive Gender and Queerness in Comedy : Focusing on Cross-dressing of Hong Kong Film Wu Yen
著者 門, 千行

× 門, 千行

WEKO 90603

門, 千行

Search repository
Men, Qianxing

× Men, Qianxing

WEKO 90604

Men, Qianxing

Search repository
キーワード
主題Scheme Other
主題 コメディ
キーワード
主題Scheme Other
主題 異性装
キーワード
主題Scheme Other
主題 性転換
キーワード
主題Scheme Other
主題 ジェンダー越境
キーワード
主題Scheme Other
主題 クィア性
キーワード
主題Scheme Other
主題 comedy
キーワード
主題Scheme Other
主題 actress
キーワード
主題Scheme Other
主題 cross-dressing
キーワード
主題Scheme Other
主題 gender-bending
キーワード
主題Scheme Other
主題 transgressive gender
キーワード
主題Scheme Other
主題 queerness
抄録
内容記述 People may be familiar with cross-dressing in Chinese films, especially those with knowledge on classic literature and opera in Chinese culture. Because the boom of the gay rights movement and feminism had influence on Hong Kong after 1990s, a lot of Hong Kong films were made with concern of gender and sexuality issues. One of their approach is creating transgressive gender by cross-dressing. Despite the fact that many films have presented successful cross-dressing characters, the film Wu Yen directed by Johnnie To in 2001 still stands out among them by highlighting the interaction between queerness and comedy effects. Firstly, the film narrates a story based on real history that happened in 300s BC in a comedic way. Secondly, the three main characters (one male and two females) are performed by Hong Kong top actresses at that time, Anita Mui, Sammi Cheng, and Cecilia Cheung, regardless of their gender. Thirdly, it combines cross-dressing, gender-bending and fantasy to express transgressive gender and queerness. For these reasons, the actresses’ performance, costume, character’s settings, as well as the gender and sexuality issues must to be taken into consideration. The purpose of this study is to figure out the reasons and significance of the film that presents transgressive gender and queerness through costumes and performances with a comedic approach. To achieve the purpose, this study will focus on how Anita Mui performed an abnormal male character by cross-dressing and how Cecilia Cheung played a fox monster by genderbending. By analyzing pivotal scenes in the film involving cross-dressing and gender-bending, what emerges is that the actress’s body could present variable, fluid gender and queerness through performance and costume. Furthermore, by discussing the representation of the character’s sexuality in the film, this study proves that even though this kind of comedic approach produces queerness, but it compromises with the heteronormativity, which eventually leads to a higher acceptance of queerness.
内容記述タイプ Abstract
出版者
出版者 名古屋大学大学院人文学研究科図書・論集委員会
言語
言語 jpn
資源タイプ
資源 http://purl.org/coar/resource_type/c_6501
タイプ departmental bulletin paper
ID登録
ID登録 10.18999/humfnu.2.189
ID登録タイプ JaLC
ISSN(print)
収録物識別子タイプ ISSN
収録物識別子 2433-2321
書誌情報 名古屋大学人文学フォーラム

巻 2, p. 189-200, 発行日 2019-03-31
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