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  1. 2011 WMW Film Festival
  2. 2010 WMW Film Festival
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2010 WMW Film Festival
2010-11-01
A Queer Party : Beyond the Imagined Community

Chang-Min YU (Freelancer)

In gender discourses, “identity politics” and “imagined community” always tend to become the focus of debate. Power and class hierarcy allow the dominant to take control of resources such as the media and education, so that the representation is restricted and identity threatened; causing opposition and conflict to come into being. Reflections on these thoughts and structures gave birth to feminism and queer theory in the 70’s. The focus of the “Happy Queers Together” unit is how to free people from the fixed identity, and to make decisions according to one’s deep desires. To free us from it is not necessarily to resist the construction, but to view that imagined construction ─ which connects the individual and the community ─ as an interface. This kind of dynamics allows the identity to flow freely and loosen the shackles.

Through the notions of “dynamics” and “interface,” we may begin to unpack how the protagonists in these films make their choices in the midst of struggles and hesitations, joyfulness and tears. We also come to realize that more tolerance rather than binary opposition and damage is needed when it comes to matters concerning feelings.

mong the three feature films, Against a Trans Narrative takes on the most diverse form, corresponding to the diverse, fluid identities of cross-genders. Combining with discussions, pseudo-interviews, theater monologues and cameras on the set, the film attempts to show the ambiguous positions of cross-genders. They do not really belong to gay or lesbian communities and become the minority of minorities after the surgery. For example, one protagonist in the film who identified with the male body and went through surgery is regarded as phallic worship in patriarchal ideology. These pre-conditioned notions set a narrative line, which makes it impossible for cross-genders to escape. As viewers, we shall free ourselves from the constructed identities before we can share the joy and sorrow of cross-genders as they move across the huge gap of identities both physically and psychologically.

In the 26 years between the end of the Second World War and the repeal of the ban on homosexuality in 1971, Vienna had very few documents on lesbians. Amorous, Antiquated, Audacious is an attempt to make known lesbian activity during this period of time. The film interviews a number of members active in lesbian bars. Their conversations weave a chapter in lesbian movement history never before recorded. Bar events, interactions with the police and the protagonists’ own growing up experiences are precious materials which enable the viewers to learn about the coming out of lesbians in that era, and how they challenged people’s perceptions as well as enjoyed themselves through small mockery of outsiders.

The Topp Twins: Untouchable Girls depicts New Zealand’s most famous comedy duo’s ways of challenging society’s stereotypic norms. Twin lesbian sisters emanate their humor through folk music. They transcend and challenge society’s impressions about country music being exclusive to the “wild west” and white males and bring healthiness and farmers’ vibrancies to the image of lesbians. Further, their songs are their tools for political changes, and help the world understand that images of homosexuals are not all related to negative impressions.

Three shorts, Evelyn Everyone, Kusun: The Flower Bud and Shallow Sleep arrange situations or interfaces as the bridge of communications and identifications. Evelyn Everyone uses online games and compares them to real life. Kusum: The Flower Bud uses a room in a brothel, and Shallow Sleep uses a dream. The protagonists are perhaps afraid to show their real self to others. Through the respective interfaces, the woman gets to know her real sexual orientation, the anxious teacher calms her nerves and the girl gets to comfort her friend.

An interface may rely on a tool such as Erving Goffman character, an internet simulation or a song. To free us from the imagined constructions and identifications is not to resist other beliefs but to expand the possibility of thoughts. In order to be freed, we engage with the imagined community to help us understand there’s a real human being behind presupposed places and positions.