The Sacred, the Profane, and the Domestic in Cui Zi'en's Cinema
2004; Duke University Press; Volume: 12; Issue: 1 Linguagem: Inglês
10.1215/10679847-12-1-195
ISSN1527-8271
Autores Tópico(s)Japanese History and Culture
ResumoCui Zi’en is a unique force. But I confess I almost passed him by. The first Cui Zi’en film I saw was Men and Women (Nannan Nunu). In 1999 Liu Binjian adapted it from Cui’s screenplay. I went grudgingly and only out of a sense of professional duty. The film was billed as the first gay-themed and largely gay-madedramatic feature frommainlandChina.But somehow that conjured up the wrong connotations for me: I remembered post-Stonewall, earnest talking-heads documentaries and depressing, low-budget, realist dramas. However, althoughMen andWomenwas made on a shoestring and looks that way, it is also droll, pointed, and pleasantly perverse. In a pre-credits scene, Cui himself appears as Gui Gui, host of a radio program called Public Toilet Horizon. The Chinese title, Gongce Shikong, is a parody of China Central Television’s famous and groundbreaking 60 Minutes–style news magazine, Oriental Horizon (Dongfang Shikong). In a matronly high and calm voice, GuiGui reads a sexually explicit gay personal
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