Virtual Showcase: QRL x Para Site: QUEER VISUAL CULTURE OF HONG KONG IN THE 1990S AND 2000S 流動閱酷 x PS角look頭:九十與千禧年代香港酷兒視覺文化的曇花一現

QRL x Para Site: Queer Visual Culture of Hong Kong in the 1990s and 2000s

Due to the fifth wave of COVID-19 in Hong Kong, cultural institutions have temporarily closed. In light of this, we have uploaded the oral history and commentary from Queer Reads Library’s PS Shop Para Site reading corner. We hope that the virtual presentation of this collection plants new seeds of queer self-publishing.

– Queer Reads Library, March 2, 2022

Introduction

As a queer millenial in Hong Kong, I came of age at the dawn of the internet. I feel grateful to have met many of my closest queer and trans friends on Instagram, and through online groups and forums. That being said, forging a queer community is hardly a digitally exclusive endeavour. Working on Queer Reads Library with my collaborators Beatrix and Rachel connected me to a previous generation of LGBTQ+ activists and friends, who taught me about the way self-published and small edition zines and magazines were pivotal in multiple ways: they allowed queer people to connect and forge friendships across distances and places, and provided a platform through which both important issues/resources as well as more light-hearted creativity could be explored and disseminated. These print ephemera, while designed to circulate perhaps amongst close friends and lovers, end up leaving a tangible, powerful record of the ways queer people decided to tell their own stories and document their lives and times, beyond mainstream media representation, in the days before corporate pinkwashing and rainbow capitalism began to take hold in Hong Kong and in the world.

This selection at the QRL Reading Corner at PS Shop is drawn from theatre ephemera from Hong Kong (1990s-2000s), as well as QRL’s holdings of vintage (late 1990s) Hong Kong queer magazines and published titles on cinematic culture, the majority of which were donated by Connie Chan, Alice Yeung, and QRL co-founder Beatrix Pang. Threading through this collection are two core themes: an investment in independent culture-making and publishing one’s own zeitgeist, as well as an acknowledgement of the importance of the performing and cinematic arts in the development of Hong Kong queer culture. In addition to their rich textual and historical value, these printed matters provide an aesthetic and visual entry point into a particular time in Hong Kong culture, in which graphic design and photography were pivoting from analogue to digital—a transition that resulted in a dynamic-between state of self-publishing, as reflected in the unique designs of these publications,some of which are early forays into digital layouts, and others using the copy-shop cut-and-paste aesthetic.

During a public dialogue with QRL at the 2019 Hong Kong Queer Literary and Culture Festival, the activist and writer Connie Chan described the irreplaceable feeling of opening the mail to find a gay zine. I loosely paraphrase her here:

“It felt so personal, that people had made this with their hands, and now it was with me.”

We feel that these sentiments radiate from these publications created thirty years ago, reaching us today.

–Kaitlin Chan, on behalf of Queer Reads Library

流動閱酷 x PS角look頭:九十與千禧年代香港酷兒視覺文化的曇花一現

作為香港千禧世代酷兒,我成長於互聯網剛剛盛行的年代。我很慶幸能夠在Instagram、網上論壇認識到酷兒、跨性別的好朋友。雖然如此,建立酷兒社群不能止步於互聯網。與彭倩幗及劉可莉一起合作流動閲酷,給了我一個與上一代LGBTQ+朋友、行動主義者連繫的機會,他們教會了我自發出版、少量發行的小誌、雜誌的多重重要性:這些出版物讓酷兒群體得以跨越地理距離建立友誼,並在這些平台上既可以宣傳重要的議題,亦可以探索更為輕鬆的創作模式。這些不易保存的印刷品原本可能只在朋友或情人之間傳閱,但卻留下了深刻、可及的紀錄——這是酷兒群體選擇訴說其故事並紀錄其生活的方式,存在於主流媒體之外,在企業粉紅裝飾、彩虹經濟開始於香港及世界流行之前。

為「流動閱酷 x PS 角look頭」挑選的印刷品來自九十至千禧年代香港戲劇文化,以及流動閲酷收集的九十年代末香港酷兒雜誌、電影文化出版物,多數由陳文慧、Alice以及流動閲酷共同創辦人彭倩幗捐贈。兩個核心議題貫穿着整個系列的印刷品:專注於特定時代獨立文化生產與出版,以及肯定表演與電影藝術對於香港酷兒文化發展的重要性。這些出版物除了有豐富的歷史價值,亦讓讀者得以一瞥香港某特定年代的審美觀與視覺文化。在那個年代,平面設計與攝影正處於數碼化初期,而獨立出版亦因此進入過渡期。在此處陳列的出版物中,讀者可以見到初期的數碼排版以及影印站的剪貼美學。

在2019年香港同讀文化節中,行動主義者兼作者陳文慧與流動閲酷的公開對談中講到,拆閱信件時找到同志小誌時那種不可替代的感覺。我在此概括她的話:

「那感覺很私人,有人親手製作(的小誌)現在在我手裡。」

我們在這些三十年前的出版物中也感覺到這些情感。

—陳嘉賢 / 流動閲酷

Foreword | Connie Chan

“The 1990s can be regarded as the golden age of printing in Hong Kong. At that time, the Internet was just emerging, and people interacted both online and offline. As long as you had a computer, you could do your own design. Therefore, independent publishing, whether it was a magazine or a book, was quite popular. It was also the time when minorities were fighting against stigmatization. At that time, AIDS, which was regarded as originating from the West, appeared in Hong Kong and was invariably associated with homosexuality. The media often reported on sexual minorities in a sensational way.

In such a context, many self-funded publications came into being at the time. There were individual publications such as Tongzhi Afterwaves, and there were also gay community publication such as Tong Hua: Hong Kong Ten Percent Journal published by the Hong Kong 10% Club, and another publication, The Satsanga Newsletter, published by The Satsanga. In the early days of Tong Hua: Hong Kong Ten Percent Journal, it was rumoured that volunteers secretly stayed in the office to typeset after work, because buying a Mac was expensive at that time. It was not easy back then and it is worth mentioning the circulation of these zines and periodicals. When it was mailed to a member, the publication was usually wrapped in multiple sheets of white paper before it was placed into the envelope, so that it wouldn’t be seen by family members. In addition, the zines were distributed in locations such as second-floor bookstores and gay bars for free, so one need not leave one’s address, thus accidentally come out. Interestingly, these publications usually have a dating column, allowing readers to get to know each other by mail. This is a way of meeting others for queer people in the age when the Internet was not common.”

—Connie Chan, Hong Kong LGBT and human rights activist,
and Chief Director of Hong Kong Pride Parade 2009

「九十年代算是香港印刷的黃金年代,當時剛興起互聯網,正好在線上線下交替互動之時,只要有電腦就可以自己排版做設計,因此相當流行獨立出版,不管是刊物或書籍。九十年代也正值小眾對抗污名化的年代,因為被視為來自西方的愛滋病於香港出現,同性戀被視為等於愛滋病,傳媒常以揭秘形式報導性小眾。基於這樣的大環境,當時多份自資出版的刊物應運而生,有個人出版的《同志後浪》,也有同志團體如「十分一會」出版的會刊《十分一同話》,「同志健康促進會」出版的會刊《同健》等。早期的《十分一同話》據說是義工在放工後,偷偷留在公司排版,因為當時買一台Mac機價錢不菲,可見當年也不容易。值得一提的是這些書刊的流通方法。如果是會刊,當郵寄給會員時,為了確保郵件不能透光以致被家人看見,通常會再以多張白紙包裹刊物才入信封。另外,亦會免費放置在二樓書店、同志酒吧等地方,就不怕留下地址給別人而出櫃。有趣的是,這類刊物通常都設有徵友欄的內容,讓讀者以郵寄形式認識其他同志,這可是在互聯網未普及年代的交友方法呢。」

—陳文慧 / 本地同志及人權社會運動家,亦是香港驕傲2009年總監

Foreword | Alice Yeung

“I always enjoyed watching plays. Back then, Zuni Icosahedron was really well known, so I would go whenever there was a performance. That period was also a time when I was exploring my sexuality after marriage. These catalogues and pamplets were from the queer plays I watched in 1997, and most of them were performed in the Hong Kong Arts Centre. Perhaps the performance centre was subjected to certain restrictions, therefore the contents of the performance were not very bold. Most of the stories revolved around the lives and relationships of queer individuals, and there were also several adaptations from Chinese queer literature, for example Crystal Boys (1983) by Pai Hsien-yung.

Back then, programmes like these would receive support whether it be from different media outlets or commercial sponsorship, and the actors starring in such programmes were also household names, such as Irene Wan Pik Ha, Season Ma Sze Shen, Bowie Lam Po Yi, and Sandra Ng Kwan Yu. At that time, there weren’t many negative connotations when it came to playing queer characters; discussing issues revolving around homosexuality, gender, or of a similar nature was still quite normal. However, due to uncertain political prospects, many started to gloss over homosexual or queer themes in movies, music, and performances in fear of them being supressed after the handover. Looking back, the production of queer culture reached its peak in 1997 and continued until 2010, after which it has gradually decreased. I have deliberately kept these catalogues and pamphlets as proof of that golden era.”

—Alice Yeung (a.k.a. aliencat), stamp artist from Hong Kong

「本身我很喜歡看話劇,當年『進念』(進念二十面體)很有名,每逢有演出便會去看,那個時期也是我在婚後探索自我性別身份的過程。這些場刊是在1997年時觀看一些同志話劇時收集回來的,演出地點多數在香港藝術中心。那時的劇場可能受某些限制,沒有很大膽的表演內容,故事大都圍繞同志生活及情感關係,也有些是改編自文學作品(例如白先勇的《孽子》)。當年這類型的節目能得到不同媒體支持宣傳及不少的商業贊助,而當中的演員們皆是知名的歌影視藝人,如:溫碧霞、馬斯晨、林保怡、吳君如等等。那時候,大家都不太忌諱演繹同志角色,並且對同志及性別身份認同等議題討論保持相當的開放性。及後,由於未知的政治前景,大家都懼怕回歸後與同志議題有關的電影、音樂及演出會受到打壓,回望1997年是同志文化出產的高峰期,這個情況大概持續至2010年後便慢慢減少。我特意將這些場刊保留,作爲那個黃金時代的證明。」

—Alice Yeung / 藝名外星貓,本地印章藝術家

關於女人的愛情故事(男用版)
A Woman's Love Story (Men's Version)

Author 作者: Various 作者眾
Year of Publication 出版年份 : N/A 不詳
Place of Publication 出版方: Hong Kong香港
Publisher/Press 出版社: Production Brand 样本(源沢流)制作
Edition 版本: Original 正本

Collection of Alice Yeung. Courtesy of Queer Reads Library.
藏品由Alice Yeung收藏及由流動閱酷借出

A Woman’s Love Story (Men’s Version) is a theatre play produced by Production Brand in the 1990s. Some of the content references Taiwanese writer Pai Hsien-yung’s literary work Crystal Boys. Production Brand was an experimental theatre troupe that combined theatre, film, and text in a multimedia format. It was founded in 1986 by Mr. Joe Lau Chak Yuen, who is also one of the founders of Zuni Icosahedron. In the 1980s, Lau was regarded as a pioneer of gay theatre in Hong Kong and his plays were well received by the public. This catalogue introduces the story of the play and the production notes of the A Woman’s Love Story (Men’s Version). It also includes on-stage and behind-the-scenes stills, writings submitted by different people who fictionalized their personal relationships, as well as sponsored advertisements from telecommunications companies, cosmetic brands, beauty and hair salons, furniture stores, bars, and so on. The cover models were household names in the film and theatre industry, including Irene Wan Pik Ha and Season Ma Sze Shen.

《關於女人的愛情故事(男用版)》是由「样本(源沢流)制作」於90年代所制作的舞台劇目,部份內容取材自作家白先勇的文學作品《孽子》。「样本(源沢流)制作」由香港進念劇團始創人之一劉澤源先生在1986年創辦,以多媒體形式結合了舞台、影視和文字的實驗劇團。在八十年代,劉氏首次在香港開宗明義公演同性戀題材的舞台作品,並得到很大的迴響。本場刊主要介紹《關於女人的愛情故事(男用版)》的劇目內容及製作單位簡介,並附有舞台劇的台前幕後花絮,也有由不同人士撰寫關於各自的感情關係的文章,以及一些來自電訊公司、化妝品牌、美容及髮廊、傢具店、酒吧等不同範籌的贊助商廣告。 封面人物均為當年知名影視及舞台演員,其中包括溫碧霞及馬斯晨。

十分一同話 Tong Hua: Hong Kong Ten Percent Journal (Issue 8)

Author 作者: Various
Year of Publication 出版年份: 1997
Place of Publication 出版地方: Hong Kong
Publisher/Press 出版社: 香港十分一會 / Hong Kong 10% Club
Edition 版本: Copy

Collection of Connie Chan. Courtesy of Queer Reads Library.

This June 1997 issue of Hong Kong Ten Percent Journal covered sociopolitical challenges faced by the queer community in Hong Kong on multiple levels. The contributors and content of the journal mostly catered toward gay men. The journal was relatively dense in text and details, including meeting notes, personal testimonials, arts reviews, and even illustrations and comics.

《十分一同話》1997年出版的六月刊積極從多個層面報道了香港酷兒社群在社會和政治上所面臨的問題。雜誌的作者和大部分的內容都以男同性戀者為中心。此刊物的文字與細節密度較高,其中內容包括了議會報告、個人證詞、人文評論甚至一小部分漫畫和插畫。

《男式之情人、再見!》So long until we meet again

Author 作者: Various
Year of Publication 出版年份: 1997
Place of Publication 出版地方: Hong Kong
Publisher/Press 出版社源沢流(样本)制作
Edition 版本: Original

Collection of Alice Yeung. Courtesy of Queer Reads Library.

So long until we meet again is a theatre play produced by Production Brand in 1997. Another of Joe Lau Chak Yuen’s significant works that successfully combined theatre and commercial elements, it starred Sandra Ng Kwan Yu, and Tony Leung Ka Fai also gave a singing performance for the theme song. Similar to the catalogue for A Woman’s Love Story (Men’s Version), this catalogue includes the background of the troupe, the story, the cast list, and there were a number of commercial sponsorships, including international fashion brands Agnès b., various gay clubs and bars, photo printing companies, hair salons, etc. Another highlight of the catalogue is the list of queer folks in front of and behind the scenes. It is not difficult to see some names of household film and TV actors and actresses quietly coming out and opening up about their sexual identity. 

《男式之情人、再見!》是1997年由「源沢流(样本)制作」監制的舞台劇,為另一部成功結合舞台及商業元素的劉澤源式作品,當年邀得影視名人吳君如擔任其中角色及梁家輝主唱劇中的歌曲。跟另一場刊《關於女人的愛情故事(男用版) 》相若,此場刊的內容詳細介紹劇團背景、劇目內容、各演員資料等,同時載有包羅萬象的商業贊助,包括來自國際時裝品牌agnès b.、同志俱樂部及酒吧、攝影沖印公司、時尚髮廊等等。書中另一看點是羅列一眾台前幕後的「自己人」名單,當中不難看到一些熟悉的影視藝人名字,也算是低調公開了他/她們的同志(認同)身份。

同志與傳媒 Gays in the Media

Author 作者: Ng Shing Bong 伍成邦
Year of Publication 出版年份: 2001
Place of Publication 出版地方: Hong Kong
Publisher/Press 出版社: 智行基金會 Chi Heng Foundation
Edition 版本: Original

Collection of Beatrix Pang. Courtesy of Queer Reads Library.

Gays in the Media is produced and published by a local charity organization Chi Heng Foundation, Mr. Lam Woon Kwong was in the position of Secretary of Home Affairs at the time. According to the words of Chi Heng Foundation’s administrative Secretary Mr. Chung To : ‘In current media discourse, the queer community has become a key target of the press. The queer community has been commonly overlooked and misunderstood, not only did they not receive justice through the media, instead they now face an irrational influx of coverage…” The Chi Heng Foundation commits itself to pushing forth equal opportunities while also eliminating society’s misunderstanding and discrimination towards vulnerable communities and minorities. It organizes events, fundraisers, education programmes, and advertising. Chi Heng Foundation also pays close attention to the state of queer communities outside of Hong Kong’s borders and the promotion of equal opportunities in neighbouring regions such as Taiwan and Thailand. The book also documented queer cultural information, queer vocabulary and media information from all over Asia.

《同志與傳媒》由本地慈善團體「智行基金會」於2001年出版及製作,時任民政事務局局長為林煥光。就「智行基金會」幹事杜聰當年所言:「在這個大潮流裡,同志社群成為傳媒獵奇的重要對象,一向被忽略和誤解的同志社群不但沒有透過傳媒得到平反,反而換來不成比例般多的報導……」同志被「污名化」至今在網上及網下的媒體仍然存在。這本刊物的出版目的是透過設立「同志議題報導獎」連結社會上各方力量來爭取及公開討論同志社群在媒體上被不公平對待及思考可改善的未來。書內收錄了多位政治、商界、傳媒、文化及演藝界的知名人士和資深學者提筆,為「反歧視」及社會對同志社群的偏見寫下個人見解及意見。此外,從「智行基金會」宣傳活動資料得知當年香港社會的開放及團結,所關注的不單是本地的情況,還有報導鄰近的台灣、泰國等地的同運資訊。書中也錄亞洲各地同志文化資訊及同志詞彙及傳媒資料。

十分一同話 Tong Hua: Hong Kong Ten Percent Journal (Issue 10)

Author 作者: 伍成邦
Year of Publication 出版年份: 1998
Place of Publication 出版地方: Hong Kong
Publisher/Press 出版社: 香港十分一會 / Hong Kong 10% Club
Edition 版本: Copy

Collection of Connie Chan. Courtesy of Queer Reads Library. 

Published from 1993 to 1998, Hong Kong Ten Percent Journal was a predominantly Chinese-language gay periodical that centered on the rich complexity of the city’s growing queer community, through interviews, protest coverage, and journalism (including op-eds, personal essays, and reportage). One of the leading queer publications of its time, the journal struck an academic tone, while keeping a finger on the pulse on issues directly impacting gay and lesbian communities in Hong Kong. The journal was named after Dr. Alfred Kinsey’s theory that ten percent of the world’s adults are gay.

《十分一同話》從1993年至1998年出版,是一本以中文為主的同志期刊。此雜誌通過採訪、示威報道和新聞報道的方式(包括專欄、個人敘述和報道類文體)來覆蓋同志社群在這座城市中豐富且複雜的成長。作為上個世紀末具有代表性的酷兒雜誌,《十分一同話》引入學術基調的同時也如實貼切地展示了香港同性戀者所面臨的問題。本雜誌是以 Alfred Kinsey博士的理論:「世界上有百分之十的成年人為同性戀者」 而命名。

Bedtime Stories 床上戲 (flyer)

Author 作者: Various
Year of Publication 出版年份: 1997
Place of Publication 出版地方: Hong Kong
Publisher/Press 出版社: The Conformists 嚟啦喂兄第劇團
Edition 版本: Original正本

Collection of Alice Yeung. Courtesy of Queer Reads Library.

Written on the Bedtime Stories pamphlet is the following: ‘During the period from May to June 1997, the programmes that featured homosexuality-related content in Hong Kong could be seen as blossoming. Truly one for its time… This proves that gay theatre is no longer strictly aimed at a gay audience, and I believe that our society is becoming more liberal and open. In a state where all kinds of theatrical performances have room for survival. It is a good thing.’ This is the affirmation and expectation that the local troupe, The Conformists of 1997, had for themselves. In today’s world, is our society more open? Is the audience willing to consider letting queer individuals into the public sphere? In the 1990s, The Conformists were operating in the same era that included Zuni Icosahedron, Edward Lam’s Dance Theatre, and Production Brand. It would seem that they were in fierce competition in the gay theatre circle. 

This pamphlet comes in A3 size that is folded in half. It includes a concise layout which is rich in content. Other than the introductory section dedicated to the theatre company and the repertoire, there is also an English newspaper clipping of a South China Morning Post article about the play. In addition, the pamphlet also records a list of thoughts and comments about the play submitted by a dozen audience members under pseudonyms. The cover photos on the flyer were taken by well-known photographer Wing Shya, with quality artistic and fashionable sense. 

在《床上戲》的劇場傳單上寫着:「九七年五月至六月期間在香港上演與同志有關的節目可算是百花齊放,一時無兩…… 證明了同志劇場的觀眾不再只是同志,我相信我們的社會日趨開明,令各種劇場都有生存空間,是一件好事。」——這是1997年本地同志劇團「嚟啦喂兄第劇團」對自己作品的肯定及寄望。到了2021年的今天,我們的社會是否得到更多的開明,觀眾又是否樂意見到同志在大家生活當中?「嚟啦喂兄第劇團」身處於90年代包含「進念二十面體」、「非常林奕華」及「源沢流(样本)制作」等同志劇場圈子當中,看來競爭相當激烈。這是一張A3大小對摺打開的劇場傳單,簡潔的排版包含豐富的內容,除了開首的一段劇團及劇目內容介紹外,也有一篇關於南華早報介紹此劇的英文剪報。此外,傳單也滿有心思地收集十多個以化名身份的觀眾對此劇的感想和意見。傳單的封面攝影由Wing Shya夏永康掌鏡,其餘的插畫及美術設計均看得出具有相當的質素要求與時尚感。

同健季刊 The Satsanga Newsletter (Issue 7)

Author 作者: Various
Year of Publication 出版年份: 1997
Place of Publication 出版地方: Hong Kong
Publisher/Press 出版社: 同志健康促進會/The Satsanga
Edition 版本: Copy

Collection of Connie Chan. Courtesy of Queer Reads Library.

The Satsanga Newsletter is quarterly  distributed in Hong Kong, Taiwan, Mainland China, and North America. This Chinese language publication included in-depth interviews, essays, and community meeting notes. The meetings covered gay rights and legislations, as well as involved leisure activities such as song and dance, bringing the queer community together on and off the page.

《同健》是一本一年會出版四次的季刊雜誌,並在香港、台灣、內地和北美等地區均有發佈。這本漢語刊物不僅記錄了深入的特寫採訪和評述,同時也是社群聚會的載錄。本雜誌中曾有刊登會議廣告(會議內容為討論有關酷兒的條例和權利)的同時也宣傳過更生活化的休閒聚會(聚會活動為唱歌和跳舞),在頁上和頁下將酷兒們凝聚一堂。

同志後浪 Tongzhi Afterwaves (Issue 28)

Author 作者: Various
Year of Publication 出版年份: 1992
Place of Publication 出版地方: Hong Kong
Publisher/Press 出版社: Self-published
Edition 版本: Copy

Collection of Connie Chan. Courtesy of Queer Reads Library. 

Tongzhi Afterwaves was a subscription newsletter in the early to mid-90s, which was mainly published in English with occasional Chinese news items. It had a specific focus on lesbian lives, as well as the sexual violence faced by transgender women. One article, titled ‘Not Always a Glamorous Life’, specifically addressed those who objectified transgender individuals as entertainers and performers.

《同志後浪》這份九十年代的小眾簡報以英語為主,其中也夾雜了部分的中文新聞素材。此期刊的內容着重於報道作為女同性戀者的思想與道德問題,以及針對跨性別女士的性別暴力案件。其中一篇關於跨性別人士的傳略標題為「不一直光鮮亮麗的人生」,是給將跨性別人士視為娛樂者和表演者的人的一封音書。

同志後浪 Tongzhi Afterwaves (Issue 27)

Author 作者: Various
Year of Publication 出版年份: 1992
Place of Publication 出版地方: Hong Kong
Publisher/Press 出版社: Self-published
Edition 版本: Copy

Collection of Connie Chan. Courtesy of Queer Reads Library. 

Tongzhi Afterwaves was a subscription newsletter in the early to mid nineties, which released both Chinese-language and English issues, with a specific focus on lesbian lives. In this special issue themed around ‘Lesbians in Singapore’, the robust indie publication features reports from local journalists and activists about the state of lesbian visibility and recognition at this time, as well as some personal anecdotes from lesbians who felt mounting pressure from their family to go back into the closet. 

「同志後浪」是一部位時90年代中旬的訂閱制簡報,分別發表了中文和英文的刊物。雜誌內容具體圍繞女同性戀者的生活。在此期刊的特殊主題「女同性戀者在新加坡」中,這部強勁的小眾刊物紀錄了本地記者和社會運動者的報導:那個年代裡女同性戀的曝光度與認可。同時也包括了個別女同性戀者的個人逸事;她們從家庭內部所感受到巨大的「返櫃」壓力。

Hong Kong Connection Issue 1

Author 作者: Various
Year of Publication 出版年份: 1993
Place of Publication 出版地方: Hong Kong
Publisher/Press 出版社: Titan Trading Company Ltd
Edition 版本: Copy

Collection of Connie Chan. Courtesy of Queer Reads Library. 

Hong Kong Connection was a subscription-only English language magazine that produced only one issue before having to close due to a lack of funding. This 20-page magazine had ambitious plans, as you can see from its contents that covered breaking news and the AIDS epidemic, regional Hong Kong and Mainland China reporting, as well as the usual favorites: event and bar listings, cultural commentary, and an advice column.

《Hong Kong Connection》是一部只限訂閱的英文雜誌,因資金短缺所以只出版了一期。然而這本雜誌在短短的二十頁中展示了宏圖野心,它所覆蓋的內容為當時的突發事件以及愛滋病、香港和內地的地域性報導,包括受大眾喜愛的活動及酒吧的資訊、人文評論和一個建議欄。

百部同志電影全記錄
Happy Together: A Complete Record of 100 Gay Movies

Author 作者: 范坡坡
Year of Publication 出版年份: 2007
Place of Publication 出版地方: Hong Kong
Publisher/Press 出版社: 北方文藝出版社
Edition 版本: Original

Courtesy of Queer Reads Library. 

Happy Together: A Complete Record of 100 Gay Movies is the first book in China to fully record the 100 queer movies that have made a huge impact on the world’s filmographic history. The selected films span 1976 to 2004, and for the book’s foreword, Hong Kong film director Stanley Kwan who filmed Lan Yu (2001) was invited. The author of the book, Fan Popo (b.1985) is from Jiangsu, China. Fan has directed several plays for the first Beijing Gay Cultural Festival, whilst he was also the director of many queer documentaries. In 2012, Fan shot the documentary Mama Rainbow which tells a story between queer kids and their mothers. The documentary was later removed by many of China’s video hosting sites. Fan then sued the State Administration of Press, Publication, Radio, Film and Television for improper handling and won the lawsuit. This book is significant not just because it is an overview and tribute to queer cinematography throughout the years, but it also reaffirms film as an important medium that allows the queer community to speak out, tell their stories, and express emotions. Love, understanding, and tolerance are the ultimate ways to bring people closer.

《春光乍泄:百部同志電影全記錄》是中國國內第一部完整介紹一百部在世界電影史上產生過巨大影響的同性戀題材電影的書籍。選出的電影橫跨1976年至2004年,書中的前言邀得拍攝《藍宇》的香港導演關錦鵬題筆。 作者范坡坡 (生於1985年),江蘇人,曾為首屆北京同性戀文化節創作舞台劇,是拍攝過多部同志紀錄片的導演。他在2012年拍攝了記錄片《彩虹伴我心》講述同志孩子和他們的母親的故事,其後被多個國內視頻網站刪除,范向法院起訴國家新聞出版廣電總局的處理不當後勝訴。這本書的意義不止是古今同志電影的總覽及致敬,還記錄着和重申了電影作為一個能讓同志向世界控訴、傳達故事和情感的重要媒介。愛、理解和包容是最終讓我們能跨越距離的方式。

 

性/別光影
Sexing Shadows: Genders and Sexualities in Hong Kong Cinemas

Author 作者: 游靜
Year of Publication 出版年份: 2005
Place of Publication 出版地方: Hong Kong
Publisher/Press 出版社: Hong Kong Film Critics Society香港電影評論學會
Edition 版本: Original

Courtesy of Queer Reads Library. 

Sexing Shadows: Genders and Sexualities in Hong Kong Cinemas unfolds with a feminist and queer theory perspective through multiple Hong Kong films that were shot in 2000. The zine’s discussion revolves around how film has been predominantly male-led in both the industrial aspect and how men are usually the subjects of narrative. The zine questions the roles and positions of women in the film industry whilst also shining a light on the possibility of including non-binary identities in cinematic representation. A throwback to the 1960s and 1970s is also included, looking into the state of Hong Kong pornographic films from a sexuality- and sex work-focused point of view.

《性/別光影:香港電影中的性與性別文化研究》從女性主義及酷兒理論角度展開,透過數套在2000年間拍攝的香港電影,集中討論電影題材與敘事如何向來以男性主導。書中提問女性在電影行業的角色及位置,以及非二元性別身份在電影中的呈現與敍事可能性。書中還有從性及性工作的角度回望六、七十年代的香港色情電影及當年的香港處境。

In collaboration with Para Site, Hong Kong
Special thanks: Ellie, Shirley and the PS Team