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Yonfan's Bugis Street

Author: Kenneth Chan
Publisher: Hong Kong [China] : Hong Kong University Pres, [Place of publication not identified] : [publisher not identified], [2015] 2016.
Series: New Hong Kong cinema.
Edition/Format:   eBook : Document : EnglishView all editions and formats
Summary:
Bugis Street was famous (or notorious) for being a haunt of transgender prostitution in the early decades of postcolonial Singapore. Since then the site has been a source of touristic obsession and local cultural anxiety. In his 1995 film Bugis Street, director Yonfan brings the short lane back to vivid cinematic life. By focusing on the film's representations of queer sexualities and transgender experience, this  Read more...
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Details

Genre/Form: Electronic books
Criticism, interpretation, etc
History
Additional Physical Format: Print version:
Named Person: Fan Yang; Fan Yang
Material Type: Document, Internet resource
Document Type: Internet Resource, Computer File
All Authors / Contributors: Kenneth Chan
ISBN: 9789888313266 9888313266
OCLC Number: 935989744
Notes: "Yonfan's filmography": page [157].
Description: 1 online resource (1 PDF (xiii, 173 pages)) : illustrations.
Contents: Introduction : Bugis Street as historical-political-cultural discourse --
1. Bugis Street as pop cultural archive --
2. Bugis Street as sexuality on screen --
3. Bugis Street as transnational queer cinema --
4. Bugis Street as queer space and time --
Conclusion : Bugis Street as un-community.
Series Title: New Hong Kong cinema.
Responsibility: Kenneth Chan.

Abstract:

Bugis Street was famous (or notorious) for being a haunt of transgender prostitution in the early decades of postcolonial Singapore. Since then the site has been a source of touristic obsession and local cultural anxiety. In his 1995 film Bugis Street, director Yonfan brings the short lane back to vivid cinematic life. By focusing on the film's representations of queer sexualities and transgender experience, this book contends that the under-appreciated Bugis Street is a significant instance of queer transnational cinema. The film's playful yet nuanced articulations of queer embodiment, spatiality, and temporality provide an unexpected intervention in the public discourses on LGBT politics, activism, and cultures in Singapore today. This book's arrival at a much more complicated and contradictory picture of the discursive Bugis Street, through the examination of Yonfan's film and a range of other cultural and literary texts, adds a new critical dimension to the ongoing historical, geographical, sociological, ethnographic, and artistic analyses of this controversial space.

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