Chinese Lesbian Cinema by Shi Liang;

Author:Shi, Liang;
Language: eng
Format: epub
Tags: undefined
Publisher: Lexington Books
Published: 2012-12-15T00:00:00+00:00

Nü’ergu 女儿谷 (Behind the Wall of Shame), 1995

Nü’ergu 女儿谷 (Behind the Wall of Shame, 1995)[11] is directed by Xie Jin 谢晋, who is arguably the best known, if not the most important, filmmaker in the People’s Republic of China before the rise of the Fifth Generation directors. Quite a few of his works, such as Wutai jiemei 舞台姐妹 (Stage Sisters, 1965) and Furongzhen 芙蓉镇 (Hibiscus Town, 1986), have been deemed classics of mainland cinema. Nü’ergu was produced in the later years of Xie Jin’s career when a new generation of directors, represented by Chen Kaige and Zhang Yimo, had emerged to become a dominant force in the field. Compared with his earlier works, Nü’ergu has received hardly any critical attention. In a sense, however, Nü’ergu represents a historical landmark because it is the first mainland film that has characters that may be considered lesbians. Just for that reason alone, Nü’ergu should not be ignored. It is disappointing, therefore, that the film has not drawn interest from scholars and critics of gender studies.

My analysis focuses on how female same-sex relations are represented in the film. I conclude that this representation is superficial and stereotypical. In the eye of the public, female same-sex relations are perceived as abnormal and the other, and are, consequently, demonized. Culturally and historically, this representation is inspired by both indigenous and foreign traditions. I argue that in Nü’ergu, sexual desire and relationships between women are conceptualized as circumstantial, and the women characters involved in such relations are shown to be driven by social rather than sexual forces. They are, therefore, not lesbians.

Nü’ergu is about a group of inmates in a women’s prison. The film portrays these female convicts as victims of their social environment which forces them to commit felonies. The story narrates their struggle with personal tragedies and celebrates the survival of humanity in a most hostile environment. In a cell occupied by seven inmates, Xiao Nan and Xia Qiuzi are involved in a female same-sex relationship that is openly practiced among the prisoners but is likely kept hidden from the guards.

The film defines this female same-sex relationship in the following ways. Verbally Xia Qiuzi refers to Xiao Nan as “my lover” 我的情人. In a scene where the two girls poke fun at a female guard for the lack of romance in her life, Xiao Nan describes her own condition as better off because unlike the guard she “has someone [Xia] who loves and cares for her” 有人爱着疼着. In terms of physical intimacy, Xiao and Xia kiss and cuddle in front of other inmates. Unlike Dalu, however, the intimacy between Xiao and Xia signifies the affection of lovers. There is no indication that this intimacy reaches the level of sexual intercourse. In addition, their relationship is clearly characterized by one partner playing the role of the initiator and the other the passive recipient. Xiao Nan is the tallest of the seven inmates, sports a masculine short hair, and wears men’s clothes. She talks like a gangster

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