Handover Bodies in a Feminist Frame

Two Hong Kong Women Filmmakers’ Perspectives on Sex after 1997

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  • 1 University of Hong Kong marchett@hku.hk
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Abstract

Hong Kong women have been taking up the camera to explore the changing nature of their identity. Linking the depiction of the gendered body with the demand for women’s rights as sexual citizens, several directors have examined changing attitudes toward women’s sexuality. Yau Ching, for example, interrogates the issues of sex work, the internet, and lesbian desire in Ho Yuk: Let’s Love Hong Kong (2002). Barbara Wong’s documentary, Women’s Private Parts (2001), however, uses the televisual talking head interview and observational camera to highlight the way women view their bodies within contemporary Chinese culture. By examining the common ground shared by these very different films, a vision of women’s sexuality emerges that highlights Hong Kong women’s struggle for full sexual citizenship.

Contributor Notes

Gina Marchetti teaches courses in film, gender and sexuality, critical theory, and cultural studies. Her books include Romance and the “Yellow Peril”: Race, Sex and Discursive Strategies in Hollywood Fiction (University of California Press, 1993), From Tian’anmen to Times Square: Transnational China and the Chinese Diaspora on Global Screens (Philadelphia: Temple University Press, 2006), and The Chinese Diaspora on American Screens: Race, Sex, and Cinema (Philadelphia: Temple University Press, 2012). Her current research interests include women filmmakers in the HKSAR and the PRC and in world cinema, as well as contemporary trends in Asian and Asian American film culture. Email: marchett@hku.hk

Screen Bodies

The Journal of Embodiment, Media Arts, and Technology

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