DOCSLIB.ORG

JOMEC Journal Journalism, Media and Cultural Studies

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
JOMEC Journal Journalism, Media and Cultural Studies JOMEC Journal Journalism, Media and Cultural Studies Published by Cardiff University Press From ‘Celluloid Comrades’ to ‘Digital Video Activism’: Queer Filmmaking in Postsocialist China Hongwei Bao The University of Nottingham, Department of Culture, Film and Media Email: [email protected] Keywords Queer Cinema China Identity Politics Abstract Although homosexuality was decriminalised in 1997 and partially depathologised in 2001, LGBTQ issues are still strictly censored in the Chinese media. With the rapid growth of China’s LGBTQ community, an increasing number of independent films featuring LGBTQ issues have emerged in the past two decades. In this article, I trace a brief history of queer cinema in the People’s Republic of China in the postsocialist era (1978 to present). In particular, I chart the significant turn from ‘celluloid comrades’, i.e. queer people being represented by heterosexual identified filmmakers in an ambiguous way, to what leading Chinese queer filmmaker Cui Zi’en calls ‘digital video activism’, in which LGBTQ individuals and groups have picked up cameras and made films about their own lives. In doing so, I unravel the politics of representation, the dynamics of mediated queer politics and the political potential of queer filmmaking in China. I suggest that in a country where public expressions of sexualities and demands for sexual rights are not possible, queer filmmaking has become an important form of queer activism that constantly negotiates with government censorship and the market force of commercialisation. Rather than representing a pre-existing identity and community, queer films and filmmaking practices have brought Chinese gay identities and communities into existence. Contributor Note Dr Hongwei Bao is Assistant Professor in Media Studies at the University of Nottingham, UK. He holds a PhD in Gender Studies and Cultural Studies from the University of Sydney, Australia. His research primarily focuses on gay identity and queer politics in contemporary China. He has published articles in Cultural Studies, Health, Culture and Society, Interventions: A Journal for Postcolonial Studies, and Culture Unbound: Journal of Current Cultural Research. He is co-editor of Queer/Tongzhi China: New Perspectives on Research, Activism, and Media Cultures (with Elisabeth Engebresten and William Schroeder. Copenhagen: NIAS Press, 2015) and author of Queer Comrades: Gay Identity and Tongzhi Activism in Postsocialist China (Copenhagen: NIAS Press, forthcoming in 2018). Citation Bao, Hongwei. 2018. ‘From “Celluloid Comrades” to “Digital Video Activism”: Queer Filmmaking in Postsocialist China’. JOMEC Journal 12, 82–100. https://doi.org/10.18573/jomec.171. Accepted for publication 1st February 2018. www.cf.ac.uk/jomecjournal @JOMECjournal I. Introduction and sexual identities and build their communities. More importantly, in a Talking about queer filmmaking in the country where opportunities for People’s Republic of China immediately grassroots political mobilisation remain raises the question of its seeming limited and where LGBTQ issues stay impossibility. 1 Although homosexuality controversial, queer filmmaking has was decriminalised in 1997 and partially become an important part of China’s depathologised in 2001, homosexuality is ongoing LGBTQ activism; it has still largely seen as taboo in contributed to a changing landscape of contemporary Chinese society (Bao gender, sexuality and desires in today’s 2010a).2 The Chinese government bans China. public representation of LGBTQ (Lesbian, Gay, Transgender and Bisexual and In this article, I trace a brief history of Queer) issues in mainstream media and queer cinema in the People’s Republic of social media. China’s media censorship China in the postsocialist era (1978 to 3 also applies to filmmaking: queer films present). In particular, I chart the have been excluded from accessing significant turn from ‘celluloid comrades’, public funds and gaining public i.e. queer people being represented by screening rights. Despite the heterosexual identified filmmakers in an aforementioned constraints, independ- ambiguous way, to what leading Chinese ent, or often known as underground, queer filmmaker Cui Zi’en calls ‘digital queer filmmaking is booming in China. video activism’, in which LGBTQ identified With the rapid growth of China’s LGBTQ individuals and groups pick up cameras 4 community, an increasing number of and make films about their own lives. In independent films featuring LGBTQ doing so, I unravel the politics of issues have emerged in the past two representation, the dynamics of decades. mediated queer politics and the political Despite the continuing existence of 3 I use the term ‘postsocialist’ and ‘post-Mao’ media censorship, films have contributed China/era interchangeably to refer to the to, and participated in, the way that historical period after Mao when China embraced capitalist economy and neoliberal ideologies. For LGBTQ people understand their gender a discussion of postsocialism in the Chinese context, see Lu, 2007; McGrath, 2008; Xudong Zhang, 2008. 1 An early version of this article appears as a blog entry (see Bao 2016). Unless otherwise stated, 4 I use the term ‘celluloid comrades’ to refer to ‘China’ in this chapter refers to the People’s implicit and often ambiguous representations of Republic of China, or Mainland China. For homosexuality in cinema. I have borrowed the discussions of queer filmmaking in Hong Kong, term ‘celluloid comrades’ from Song Hwee Lim’s Taiwan and diasporic Chinese contexts, see Fran 2006 book titled Celluloid Comrades, which Martin (2000), Song Hwee Lim (2006) and Helen probably got its inspiration from Vito Russo’s Hok-Sze Leung (2008). 1995 book titled The Celluloid Closet. 2 While I use LGBTQ as a shorthand to refer to all Unless otherwise specified, I use the hanyu pinyin sexual minorities, I acknowledge the limitations system of Romanisation unless the conventional and problems of such a ‘naming’ strategy. I hope spelling of a person’s name is otherwise, e.g. that this article can shed light on the complexity Stanley Kwan and Chou Wah-shan. I also follow of the ‘naming’ issue, especially in the Chinese the Chinese convention in spelling Chinese context. names, i.e. surnames first, followed by first names, e.g. Cui (surname) Zi’en (first name). 82 www.cf.ac.uk/jomecjournal @JOMECjournal potential of queer filmmaking in China. I to talk about ‘queer cinema’ in multiple suggest that in a country where public and contingent ways. expressions of sexualities and demands for sexual rights are not possible, queer Talking about ‘queer’ and ‘cinema’, as filmmaking has become an important well as the combination of the two, often form of LGBTQ activism that constantly conjures up a post-Cold War imagination negotiates with government censorship of China: with China’s entry into the and the market force of global neoliberal economy, both sexuality commercialisation. Rather than and media are also ‘opening up’ to representing a pre-existing identity and ‘global’ practices despite the long-lasting community, queer films and filmmaking constraints. Such an imaginary predicts practices have brought Chinese gay the complete ‘liberation’ of the two and identities and communities into the fully-fledged development of queer existence. representations in some unknown future, when China is fully incorporated into neoliberal capitalism. The ‘postsocialist II. Problematising queer cinema allegory of modernity’, in Lisa Rofel’s (2007) words, puts gender, sexuality and In this article, I use the term ‘queer desires at the core of the social cinema’ or ‘queer films’ loosely to imaginaries and ideological encompass a wide range of cinematic contestations, thus effectively legitimising representations and media practices the neoliberal present at the cost of the surrounding LGBTQ issues. I am aware of complete erasure of the socialist past the problems in talking about the ‘queer and its related social concerns. cinema’: both ‘queer’ and ‘cinema’ are vague and illusive terms whose The queer cinema in China is of meanings are open to debate and necessity a Leftist and socialist project resignification. Questions such as how that recognises the legacy of the past, as ‘queer cinema’ might be different from well as the democratising, participatory ‘lesbian and gay cinema’, and what is so and even utopian dimensions of media ‘queer’ about ‘queer cinema’, have engagements at the present. Such a triggered heated debates in academia project usually starts from the ‘pre- (Aaron 2004; Benshoff and Griffin 2004; queer’ era of the 1980s and 90s. Mennel 2012). This article makes no attempt to engage with these complicated debates; I hope to present III. ‘Celluloid comrades’ the complexity of the issue through unfolding a contested history of queer Although explicit depictions of filmmaking in contemporary China. homosexuality were banned in mainland However, if we acknowledge that films, China in the 1980s and 90s, LGBTQ- both in their traditional forms and in the themed films from overseas entered form of digital videos, have dealt with China in the form of pirated video LGBTQ issues in various ways, and that cassettes, VCDs and DVDs. At the same the term ‘queer’ (ku’er), in its ongoing time, many mainstream films were seen process of cultural translation, has a life by the LGBTQ audience as ‘queer’ for in contemporary China, it is still possible their homoerotic ‘subtexts’, or ‘hidden messages’, e.g. the display of male 83 www.cf.ac.uk/jomecjournal
Load more

Recommended publications
  • Kūnqǔ in Practice: a Case Study
    KŪNQǓ IN PRACTICE: A CASE STUDY A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THEATRE OCTOBER 2019 By Ju-Hua Wei Dissertation Committee: Elizabeth A. Wichmann-Walczak, Chairperson Lurana Donnels O’Malley Kirstin A. Pauka Cathryn H. Clayton Shana J. Brown Keywords: kunqu, kunju, opera, performance, text, music, creation, practice, Wei Liangfu © 2019, Ju-Hua Wei ii ACKNOWLEDGEMENTS I wish to express my gratitude to the individuals who helped me in completion of my dissertation and on my journey of exploring the world of theatre and music: Shén Fúqìng 沈福庆 (1933-2013), for being a thoughtful teacher and a father figure. He taught me the spirit of jīngjù and demonstrated the ultimate fine art of jīngjù music and singing. He was an inspiration to all of us who learned from him. And to his spouse, Zhāng Qìnglán 张庆兰, for her motherly love during my jīngjù research in Nánjīng 南京. Sūn Jiàn’ān 孙建安, for being a great mentor to me, bringing me along on all occasions, introducing me to the production team which initiated the project for my dissertation, attending the kūnqǔ performances in which he was involved, meeting his kūnqǔ expert friends, listening to his music lessons, and more; anything which he thought might benefit my understanding of all aspects of kūnqǔ. I am grateful for all his support and his profound knowledge of kūnqǔ music composition. Wichmann-Walczak, Elizabeth, for her years of endeavor producing jīngjù productions in the US.
    [Show full text]
  • ENGINEERING the Official Journal of the Chinese Academy of Engineering and Higher Education Press
    ENGINEERING The official journal of the Chinese Academy of Engineering and Higher Education Press AUTHOR INFORMATION PACK TABLE OF CONTENTS XXX . • Description p.1 • Impact Factor p.2 • Abstracting and Indexing p.2 • Editorial Board p.2 • Guide for Authors p.12 ISSN: 2095-8099 DESCRIPTION . Engineering is an international open-access journal that was launched by the Chinese Academy of Engineering (CAE) in 2015. Its aims are to provide a high-level platform where cutting- edge advancements in engineering R&D, current major research outputs, and key achievements can be disseminated and shared; to report progress in engineering science, discuss hot topics, areas of interest, challenges, and prospects in engineering development, and consider human and environmental well-being and ethics in engineering; to encourage engineering breakthroughs and innovations that are of profound economic and social importance, enabling them to reach advanced international standards and to become a new productive force, and thereby changing the world, benefiting humanity, and creating a new future. We are interested in: (1) News & Hightlights— This section covers engineering news from a global perspective and includes updates on engineering issues of high concern; (2) Views & Comments— This section is aimed at raising academic debates in scientific and engineering community, encouraging people to express new ideas, and providing a platform for the comments on some comprehensive issues; (3) Research— This section reports on outstanding research results in the form of research articles, reviews, perspectives, and short communications regarding critical engineering issues, and so on. All manuscripts must be prepared in English, and are subject to a rigorous and fair peer-review process.
    [Show full text]
  • UC Riverside Electronic Theses and Dissertations
    UC Riverside UC Riverside Electronic Theses and Dissertations Title Beyond New Waves: Gender and Sexuality in Sinophone Women's Cinema from the 1980s to the 2000s Permalink https://escholarship.org/uc/item/4h13x81f Author Kang, Kai Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Beyond New Waves: Gender and Sexuality in Sinophone Women‘s Cinema from the 1980s to the 2000s A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Comparative Literature by Kai Kang March 2015 Dissertation Committee: Dr. Marguerite Waller, Chairperson Dr. Lan Duong Dr. Tamara Ho Copyright by Kai Kang 2015 The Dissertation of Kai Kang is approved: Committee Chairperson University of California, Riverside Acknowledgements My deepest gratitude is to my chair, Dr. Marguerite Waller who gave me freedom to explore my interested areas. Her advice and feedback helped me overcome many difficulties during the writing process. I am grateful to Dr. Lan Duong, who not only offered me much valuable feedback to my dissertation but also shared her job hunting experience with me. I would like to thank Dr Tamara Ho for her useful comments on my work. Finally, I would like to thank Dr. Mustafa Bal, the editor-in-chief of The Human, for having permitted me to use certain passages of my previously published article ―Inside/Outside the Nation-State: Screening Women and History in Song of the Exile and Woman, Demon, Human,‖ in my dissertation. iv ABSTRACT OF THE DISSERTATION Beyond New Waves: Gender and Sexuality in Sinophone Women‘s Cinema from the 1980s to the 2000s by Kai Kang Doctor of Philosophy, Graduate Program in Comparative Literature University of California, Riverside, March 2015 Dr.
    [Show full text]
  • IBAHRI Covid-19 Human Rights Monitor Release Date: Friday 21 August 2020
    Issue 18, 21/08/2020 IBAHRI Covid-19 Human Rights Monitor Release date: Friday 21 August 2020 1. Gender-based violence and women’s health 2. LGBTQI+ rights 3. Refugee camps and asylum procedures 4. Prisoners and detainees 5. Disability rights 6. Homelessness and precarious living 1 Issue 18, 21/08/2020 1. Gender-based violence and women’s health Overall, economic, social and health impacts of the pandemic are different for men and women. Women, at the heart of care and response efforts underway in being called upon to protect and care for families, children, the elderly and the sick, are disproportionately affected. 1 The pandemic has also worsened situations in conflict-affected countries, including Libya, Palestine, Syria and Yemen. In Democratic Republic of the Congo, Liberia and Sierra Leone, women were still trying to recover from the effects of the Ebola virus when the coronavirus struck. In MENA, the pandemic is expected to result in the loss of 1.7 million jobs, of which over 700,000 held by women. 2 Jamaica The level of violence against women in Jamaica was already high at 27.8 per cent per cent of ever- partnered women reporting at least one act of physical and/or sexual violence by an intimate partner in their lifetimes. This has been exacerbated by the pandemic. Further, Covid-19 has had a very specific impact on women’s and men’s livelihoods. According to a recent UN Women analysis of the labour force in Jamaica, 58,387 women compared to 36,316 men work in accommodation and food services, a proxy measure of employment in the tourism sector, one of the sectors most hard hit by the pandemic.
    [Show full text]
  • The Linguistic Categorization of Deictic Direction in Chinese – with Reference to Japanese – Christine Lamarre
    The linguistic categorization of deictic direction in Chinese – With reference to Japanese – Christine Lamarre To cite this version: Christine Lamarre. The linguistic categorization of deictic direction in Chinese – With reference to Japanese –. Dan XU. Space in Languages of China, Springer, pp.69-97, 2008, 978-1-4020-8320-4. hal-01382316 HAL Id: hal-01382316 https://hal-inalco.archives-ouvertes.fr/hal-01382316 Submitted on 16 Oct 2016 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Lamarre, Christine. 2008. The linguistic categorization of deictic direction in Chinese — With reference to Japanese. In Dan XU (ed.) Space in languages of China: Cross-linguistic, synchronic and diachronic perspectives. Berlin/Heidelberg/New York: Springer, pp.69-97. THE LINGUISTIC CATEGORIZATION OF DEICTIC DIRECTION IN CHINESE —— WITH REFERENCE TO JAPANESE —— Christine Lamarre, University of Tokyo Abstract This paper discusses the linguistic categorization of deictic direction in Mandarin Chinese, with reference to Japanese. It focuses on the following question: to what extent should the prevalent bimorphemic (nondeictic + deictic) structure of Chinese directionals be linked to its typological features as a satellite-framed language? We know from other satellite-framed languages such as English, Hungarian, and Russian that this feature is not necessarily directly connected to satellite-framed patterns.
    [Show full text]
  • The Later Han Empire (25-220CE) & Its Northwestern Frontier
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2012 Dynamics of Disintegration: The Later Han Empire (25-220CE) & Its Northwestern Frontier Wai Kit Wicky Tse University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Asian History Commons, Asian Studies Commons, and the Military History Commons Recommended Citation Tse, Wai Kit Wicky, "Dynamics of Disintegration: The Later Han Empire (25-220CE) & Its Northwestern Frontier" (2012). Publicly Accessible Penn Dissertations. 589. https://repository.upenn.edu/edissertations/589 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/589 For more information, please contact [email protected]. Dynamics of Disintegration: The Later Han Empire (25-220CE) & Its Northwestern Frontier Abstract As a frontier region of the Qin-Han (221BCE-220CE) empire, the northwest was a new territory to the Chinese realm. Until the Later Han (25-220CE) times, some portions of the northwestern region had only been part of imperial soil for one hundred years. Its coalescence into the Chinese empire was a product of long-term expansion and conquest, which arguably defined the egionr 's military nature. Furthermore, in the harsh natural environment of the region, only tough people could survive, and unsurprisingly, the region fostered vigorous warriors. Mixed culture and multi-ethnicity featured prominently in this highly militarized frontier society, which contrasted sharply with the imperial center that promoted unified cultural values and stood in the way of a greater degree of transregional integration. As this project shows, it was the northwesterners who went through a process of political peripheralization during the Later Han times played a harbinger role of the disintegration of the empire and eventually led to the breakdown of the early imperial system in Chinese history.
    [Show full text]
  • Written & Directed by and Starring Stephen Chow
    CJ7 Written & Directed by and Starring Stephen Chow East Coast Publicity West Coast Publicity Distributor IHOP Public Relations Block Korenbrot PR Sony Pictures Classics Jeff Hill Melody Korenbrot Carmelo Pirrone Jessica Uzzan Judy Chang Leila Guenancia 853 7th Ave, 3C 110 S. Fairfax Ave, #310 550 Madison Ave New York, NY 10019 Los Angeles, CA 90036 New York, NY 10022 212-265-4373 tel 323-634-7001 tel 212-833-8833 tel 212-247-2948 fax 323-634-7030 fax 212-833-8844 fax 1 Short Synopsis: From Stephen Chow, the director and star of Kung Fu Hustle, comes CJ7, a new comedy featuring Chow’s trademark slapstick antics. Ti (Stephen Chow) is a poor father who works all day, everyday at a construction site to make sure his son Dicky Chow (Xu Jian) can attend an elite private school. Despite his father’s good intentions to give his son the opportunities he never had, Dicky, with his dirty and tattered clothes and none of the “cool” toys stands out from his schoolmates like a sore thumb. Ti can’t afford to buy Dicky any expensive toys and goes to the best place he knows to get new stuff for Dicky – the junk yard! While out “shopping” for a new toy for his son, Ti finds a mysterious orb and brings it home for Dicky to play with. To his surprise and disbelief, the orb reveals itself to Dicky as a bizarre “pet” with extraordinary powers. Armed with his “CJ7” Dicky seizes this chance to overcome his poor background and shabby clothes and impress his fellow schoolmates for the first time in his life.
    [Show full text]
  • 1St China Onscreen Biennial
    2012 1st China Onscreen Biennial LOS ANGELES 10.13 ~ 10.31 WASHINGTON, DC 10.26 ~ 11.11 Presented by CONTENTS Welcome 2 UCLA Confucius Institute in partnership with Features 4 Los Angeles 1st China Onscreen UCLA Film & Television Archive All Apologies Biennial Academy of Motion Picture Arts and Sciences Are We Really So Far from the Madhouse? Film at REDCAT Pomona College 2012 Beijing Flickers — Pop-Up Photography Exhibition and Film Seeding cross-cultural The Cremator dialogue through the The Ditch art of film Double Xposure Washington, DC Feng Shui Freer and Sackler Galleries of the Smithsonian Institution Confucius Institute at George Mason University Lacuna — Opening Night Confucius Institute at the University of Maryland The Monkey King: Uproar in Heaven 3D Confucius Institute Painted Skin: The Resurrection at Mason 乔治梅森大学 孔子学院 Sauna on Moon Three Sisters The 2012 inaugural COB has been made possible with Shorts 17 generous support from the following Program Sponsors Stephen Lesser The People’s Secretary UCLA Center for Chinese Studies Shanghai Strangers — Opening Night UCLA Center for Global Management (CGM) UCLA Center for Management of Enterprise in Media, Entertainment and Sports (MEMES) Some Actions Which Haven’t Been Defined Yet in the Revolution Shanghai Jiao Tong University Chinatown Business Improvement District Mandarin Plaza Panel Discussion 18 Lois Lambert of the Lois Lambert Gallery Film As Culture | Culture in Film Queer China Onscreen 19 Our Story: 10 Years of Guerrilla Warfare of the Beijing Queer Film Festival and
    [Show full text]
  • Tabla 1:Festivales Y Premios Cinematográficos
    Tabla 1:Festivales y premios American Choreography Arts and Entertainment Critics cinematográficos Awards, USA Awards, Chile http://www.imdb.com/Sections/ American Cinema Editors, USA Artur Brauner Award Awards/Events American Cinema Foundation, Ashland Independent Film USA Festival American Cinematheque Gala Asia-Pacific Film Festival 2300 Plan 9 Tribute Asian American Arts 30th Parallel Film Festival American Comedy Awards, Foundation 7 d'Or Night USA Asian American International American Film Institute, USA Film Festival - A – American Independent Film Asianet Film Awards Festival Aspen Filmfest A.K.A. Shriekfest American Indian Film Festival Aspen Shortsfest ABC Cinematography Award American Movie Awards Association for Library Service ACTRA Awards American Screenwriters to Children AFI Awards, USA Association, USA Athens Film Festival, Georgia, AFI Fest American Society of USA AGON International Meeting of Cinematographers, USA Athens International Film Archaeological Film Amiens International Film Festival ALMA Awards Festival Athens International Film and AMPIA Awards Amnesty International Film Video Festival, Ohio, USA ARIA Music Awards Festival Athens Panorama of European ARPA International Film Amsterdam Fantastic Film Cinema Festival Festival Atlanta Film Festival ASCAP Film and Television Amsterdam International Atlantic City Film Festival Music Awards Documentary Film Festival Atlantic Film Festival ASIFA/East Animation Festival Anchorage International Film Atv Awards, Spain ATAS Foundation College Festival Aubagne International
    [Show full text]
  • Malware Detection Based on Code Visualization and Two-Level Classification
    information Article Malware Detection Based on Code Visualization and Two-Level Classification Vassilios Moussas 1,† and Antonios Andreatos 2,*,† 1 School of Engineering, University of West Attica, Aigaleo, Attica 12210, Greece; [email protected] 2 Division of Computer Engineering and Information Science, Hellenic Air Force Academy, Dekeleia, Attica 13671, Greece * Correspondence: [email protected] † These authors contributed equally to this work. Abstract: Malware creators generate new malicious software samples by making minor changes in previously generated code, in order to reuse malicious code, as well as to go unnoticed from signature-based antivirus software. As a result, various families of variations of the same initial code exist today. Visualization of compiled executables for malware analysis has been proposed several years ago. Visualization can greatly assist malware classification and requires neither disassembly nor code execution. Moreover, new variations of known malware families are instantly detected, in contrast to traditional signature-based antivirus software. This paper addresses the problem of identifying variations of existing malware visualized as images. A new malware detection system based on a two-level Artificial Neural Network (ANN) is proposed. The classification is based on file and image features. The proposed system is tested on the ‘Malimg’ dataset consisting of the visual representation of well-known malware families. From this set some important image features are extracted. Based on these features, the ANN is trained. Then, this ANN is used to detect and Citation: Moussas, V.; Andreatos, A. classify other samples of the dataset. Malware families creating a confusion are classified by a second Malware Detection Based on Code level of ANNs.
    [Show full text]
  • 1/14 Lost in Beijing: Ruthless Profiteer and Decadence of Family Values
    2012 American Comparative Literature Association Annual Meeting Ho Lost in Beijing: Ruthless Profiteer and Decadence of Family Values as Social Commentary and Its Limits Lost in Beijing: Ruthless Profiteer and Decadence of Family Values as Social Commentary and Its Limits ©Wing Shan Ho Speedy economic development in neo-liberal China has generated significant anxiety about the impact of the prevalent money-oriented economic order on subjectivity and the private sphere. As Chinese citizens from all walks of life become more conscious of profits/benefits (li), the urge to acquire money and the pressure to strive for a viable livelihood might be felt more keenly by the social underclass. How do members of the underclass respond to the changing economic order? What are they willing to sacrifice for economic survival and in the pursuit of affluence? How have the concepts of self, family, and community changed accordingly? These questions lead me to examine the state-criticized film Lost in Beijing (Pingguo) (Li Yu, 2007), which portrays a ruthless economic subjects who destroys family bonds and affection. This article offers a contextualized, close reading of Lost in Beijing and explores how filmic representation offers social commentary through dramatized conflicts between money and family values. I argue that Lost in Beijing, which portrays the selling of a son, critiques the logic of capitalism and monetary profit for the way in which it reduces human beings and affective bonding to mere commodities. Such a critical attitude results in not only portrayals of a ruthless economic subject but also sympathy of female victims of China’s economic growth whose depictions elicit the state’s censure.
    [Show full text]
  • Sexualities in Underground Films in the Contemporary PR China
    Georgia State University ScholarWorks @ Georgia State University Communication Theses Department of Communication Spring 5-2011 Imagining Queerness: Sexualities in Underground Films in the Contemporary P. R. China Jin Zhao Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/communication_theses Part of the Communication Commons Recommended Citation Zhao, Jin, "Imagining Queerness: Sexualities in Underground Films in the Contemporary P. R. China." Thesis, Georgia State University, 2011. https://scholarworks.gsu.edu/communication_theses/73 This Thesis is brought to you for free and open access by the Department of Communication at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Communication Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. IMAGINING QUEERNESS: SEXUALITIES IN UNDERGROUND FILMS IN THE CONTEMPORARY P. R. CHINA By JIN ZHAO Under the Direction of Leonard R. Teel ABSTRACT In response to the globalizing queerness argument and the cultural specificity argument in queer cultural studies, this thesis examines the emerging modern queer identity and culture in the contemporary People’s Republic of China (PRC) in an intercultural context. Recognizing Chinese queer culture as an unstable, transforming and complex collection of congruent and/or contesting meanings, not only originated in China but also traveling across cultures, this thesis aims to exorcise the reified images of Chinese queers, or tongzhi, to contribute to the understanding of a dynamic construction of Chinese queerness at the turn of a new century, and to lend insight on the complicity of the elements at play in this construction by analyzing the underground films with queer content made in the PRC.
    [Show full text]