QUEER ASIAN AMERICAN’S ICON

79935303 Daisuke Tohyama

QUEER ASIAN AMERICAN’S ICON

            I participated in a workshop about queer Asian American sexuality at Asian Pacific American Awareness Conference on 26th January. The instructor mainly mentioned that nobody wants to discuss porno films academically and what makes men masculinity. However, since he projected many queer porno clips without any mosaic to participants, my friends only blamed that these films were indecent after the workshop. To be honest, that workshop made me feel somehow bad for queer sexuality.

Since I expected that we have to watch many queer porno clips, I was surprised that the PIRATED! had different expression and meaning from only queer Asian American films. Unlike I expected, by using weird camera angles during porno scene, I felt less nervous and watched the overall film more carefully than previous films. Oishi mentions that “The specific details of the performer or the performance are less important than the icon itself.” (Oishi Par14) In this film, the icon image is pirates which are considered as mostly gay. Since there are only males on the boats, many people assume that every pirate is gay. The film mixes reality and unreality. The icon is unreality. The icon implies obsession with popular cultures. The icon was socially created by mainstream culture.

The other thing I noticed was that these icons are much related to what makes someone queer. There are many icons indicating queer. I saw many icons in the class this week on Fan Christy, or other clips such as long fingers or clothes.

In a film, made by Korean American students, a main character is a gay and a dancer. That image of a gay dancer also implies one of gay icons. While “normal family” is described as adorable in the film, he is described as kind of sad person. I though this situation has two meanings. One is that he is still marginalized by family or society. When his family is taking their picture, he looks somehow sad. The other is that he also has a family with his boy friend and a dog. After he comes back to his apartment, he takes shower with his boy friend and kisses him. That scene implies he was physically and mentally embraced and understood by his boy friend. For these points, the film projects kind of positive image of gay couples as well as the obsession with popular culture .

Work Cited

Oishi Eve “BAD ASIANS, THE SEQUEL: CONTINUING TRENDS IN QUEER API FILM AND FILM AND VIDEO” Millennium Film Journal . October 1, 2003 Par14

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