Huangmei opera films, Shaw Brothers and Ling Bo: Chaste love stories, genderless cross-dressers and sexless gender-plays?

Tan See-Kam

Tan See-Kam (Ph.D. University of Melbourne) is Associate Professor of Communication at the University of Macau, Macao SAR, China. Prior to this, he has taught in Australia and Singapore. He has publications in Antithesis, Asian Cinema, Cinemaya, Contemporary Cinema (in Chinese), Intermedia, Jumpcut, Media Asia, Screen, Social Semiotic and The South East Asian Journal of Social Science as well as book chapters in Queer Asian Cinema: Shadows in the Shade (New York: Harrington Park Press, 2000), Between Home and World: A Reader in Hong Kong Cinema (Hong Kong: Oxford University Press, 2004), Chinese Films in Focus: 25 New Takes (London: British Film Institute, 2004), and Outer Limits: A Reader in Communication Across Cultures (Melbourne: Language Australia, 2004). He is co-editor of a special journal issue on “Gender in Asian cinema” for Asian Journal of Communication (2001), Hong Kong Film, Hollywood and the New Global Cinema: No Film Is An Island (London: Routledge, 2007), and Chinese Connections: Critical Perspectives in Film, Identity and Diaspora (Philadelphia: Temple University Press, forthcoming). He is presently writing a book on Tsui Hark’s Peking Opera Blues for Hong Kong University Press.