@article{oai:nagoya.repo.nii.ac.jp:00027854,
 author = {門, 千行 and Men, Qianxing},
 journal = {名古屋大学人文学フォーラム},
 month = {Mar},
 note = {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.},
 pages = {189--200},
 title = {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},
 volume = {2},
 year = {2019}
}