| Summary: | Throughout the nineteenth and twentieth centuries, Chinese American men were subjected to different forms of discrimination and exclusion. The Chinese community was construed as a bachelor community, on the outskirts of the U.S. nation-state, and its men were symbolically emasculated. Consequently, Chinese American masculinity comes both as a site of submission and resistance, in which queer Chinese Americans meet the difficult challenge to conform neither to the Chinese nor to the American identity that cultural representations offer. This article explores Chinese American masculinity as a site of negotiation and resistance to such representations. To do so, we use the concept of “queer,” defined by David Eng and Alice Hom as “a political practice based on transgressions of the norm and normativity rather than a straight/gay binary of heterosexual/homosexual identity” (Eng and Hom 1998: 1). Firstly, in his movie The Wedding Banquet, Ang Lee tackles the theme of Chinese Americanness through the prism of a Chinese American closeted homosexual character. This allows us to discuss how Chinese American masculinity and identity are defined, explored, and negotiated in a queer context. On the other hand, the concept of queer can also be used as a theoretical tool which allows us to explore Chinese Americans’ imagined community and identity. This is done through the prism of Georgia Lee’s movie Red Doors, and more especially Ed, the suicidal patriarch of the family. We thus analyze the movie’s queering of ethnicity which reconfigures representations of Chinese Americans.
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