Queer Chinese, Hong Kong and Taiwanese cinema. Wong Kar-Wai, Tsai Ming-liang. South Korean cinema.
My work crosses geographic borders and academic fields. My first book focused on queer Caribbean fiction whilst my second book looked at queer Sinophone cinema. I have also worked on the representation of so-called ‘comfort women’ in contemporary South Korean cinema.
New Queer Sinophone Cinema
The book looks at the representation of queerness in contemporary Chinese, Hong Kong and Taiwanese cinema.
Postcolonial Europe rethinks European colonialism in the light of its vanishing empires and the rise of new global power structures.
Queer Narratives of the Caribbean Diaspora
The book looks at contemporary queer Caribbean literature. It intersects queer studies and migration studies.
Haunting China: Ecopoetics of Zhao Liang’s »Behemoth«
Taking a close look at Zhao Liang’s 2015 documentary Behemoth, this article argues that the film employs the aesthetic of slow cinema and combines it with Marxist critique in order to generate an ecological awareness that pushes the boundaries of ecocinema.
Shamans and Nativism: Postcolonial Trauma in »Spirits’ Homecoming« (2016) and »Manshin: Ten Thousand Spirits« (2013)
Looking at South Korea’ self-image as a postcolonial state, the article investigates the notions of national coherence and homogeneity as the nation is confronted with the uneasy remnants of Japanese colonisation, especially in relation to the ‘comfort women’ issue.
Representability and Auteurship in Queer Hong Kong Cinema.
The chapter looks at two queer Hong Kong films—»Amphetamine« (2010) by Scud and »Soundless Wind Chime« (2009) by Kit Hung.
Between East and West: Queerness in »East Palace, West Palace«
In this chapter I look at Zhang Yuan’s classic »East Palace, West Palace« from 1996. I argue that it is much more than China’s "first gay film”.
Queer China: Lesbian and Gay Literature and Visual Culture under Postsocialism
Offering in-depth analyses of a wide range of queer cultural texts produced in the People’s Republic of China from the postsocialist era to the present, »Queer China« paints an excellent picture of the vibrant and fast-developing LGBTQ cultures that continue to shape and transform the lives of sexual minorities in China.
Queer/Tongzhi China: New Perspectives on Research, Activism and Media Cultures
Spanning academic disciplines from anthropology to sociology to film and media studies, the chapters in this volume are both empirically and theoretically rich and provide valuable insights into the various ways queerness is viewed, experienced, positioned and studied across China. The collection works as a reminder of the great diversity of queer positionings in China.
This article argues that Zhao Liang’s film Behemoth (2015) employs the aesthetic of slow cinema and combines it with Marxist critique in order to generate an ecological awareness that pushes the boundaries of both slow and ecocinema. The film reorients the viewing gaze from the spectacular and the exotic toward the self-aware and the introspective
Haunting Buddhism, Haunting Tibetan Masculinities
I denne artikel kigger jeg på Pema Tsedens film Jinpa (2018). Jeg argumenterer, at Tseden går imod sin tidligere oeuvre med stor fokus på Tibetanske landskaber. Han skaber en mise-en-scène, der understreger samspillet mellem karaktererne og fremhæver deres psykologiske ubalance.