Televising Chineseness: Gender, Nation, and Subjectivity

Song, Geng

doi:doi:10.3998/mpub.12221862

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Dai Tianli, the anti-Japanese hero of The Dog-beating Staff, standing atop a wall with one hand on his hip and the other holding aloft an approximately 40-inch-long stick known as the dog-beating staff. He looks determined.

Dai Tianli wielding the dog-beating staff

From Chapter 3

Figure 1. Dai Tianli wielding the dog-beating staff. The Dog-Beating Staff (2013).

The character “Old Second Aunt” cross-dressed as the concubine in the Peking opera Farewell My Concubine during a performance for his wife in a cave at Cockscomb Mountain. His gait and hand gestures are conventionally feminine.

“Old Second Aunt” cross-dressed as the concubine in Farewell My Concubine

From Chapter 3

Figure 2. “Old Second Aunt” cross-dressed as the concubine in the Peking Opera Farewell My Concubine. The Dog-Beating Staff (2013).

“Old Second Aunt” dying a heroic death on the battlefield

From Chapter 3

Figure 3. “Old Second Aunt” dying a heroic death on the battlefield. His left hand displays the feminine hand gesture known as “orchid fingers.” The Dog-Beating Staff (2013).

Kaede Sendo in Rookie Agent Rouge with a foxy grin on his face. His face is white and his lips red as if wearing lipstick, and he stands in front of an outsized gramophone. A sinister infusion device appears in the background alongside a large glass box with a sign above it reading “test box” in Japanese kanji characters.

The “witchy” appearance of Kaede Sendo

From Chapter 3

Figure 4. The “witchy” appearance of Kaede Sendo. Rookie Agent Rouge (2016).

Sato carrying Sakko horizontally into the inner chamber of a traditional Japanese house. Both are wearing kimonos. Sakko, who is facing the camera with a smile on her face, is embracing Sato and appears happy and contented.

Sato holding Sakko horizontally in an intimate scene

From Chapter 3

Figure 5. Sato holding Sakko horizontally in an intimate scene. A War of Women (2014).

Xu Tian

From Chapter 3

Figure 6. Xu Tian. Red (2014).

Ma Guoliang triumphantly leaving his ex-wife’s wedding banquet with his arms around the shoulders of the beautiful Jiang Yinan (left) and Huo Yaoyao (right). The three walk confidently and gracefully with a vigorous stride, as several wedding guests smilingly take photos of them with their phones.

Ma Guoliang with Jiang Yinan (left) and Huo Yaoyao (right)

From Chapter 4

Figure 7. Ma Guoliang triumphantly leaving his ex-wife’s wedding banquet with his arms around the shoulders of Jiang Yinan (left) and Huo Yaoyao (right). Chinese-Style Relationship (2016).

Feng Teng peering at Xue Shanshan through the blinds of the large window in his office. He is wearing a blue jacket with the collar turned up. His gaze is cool and examining.

Feng Teng peering at Xue Shanshan from his office

From Chapter 4

Figure 8. Feng Teng peering at Xue Shanshan from his office. Boss and Me (2014).

A close-up of Xue Shanshan, who smiles innocently, with two hands in fist supporting her chin.

The adorable image of Xue Shanshan

From Chapter 4

Figure 9. The adorable image of Xue Shanshan. Boss and Me (2014).

A cozy scene of Feng Teng, as a boy of six or seven playing chess with his parents while seated on an expensive-looking sofa. Feng is wearing a bow tie. His father wears a gold wristwatch, and there is a pearl necklace around his elegantly dressed mother’s neck.

Feng Teng as a child playing chess with his parents

From Chapter 4

Figure 10. Feng Teng as a child playing chess with his parents. Boss and Me (2014).

Promotional poster for Mother’s Life. A small image of a middle-aged, steadfast Yingniang supported by her two daughters on either side appears against the backdrop of a large image of Yingniang in her youth clad in traditional Chinese female dress and looking submissive and gentle with a lowered gaze. In the upper left-hand corner of the poster are two large Chinese characters giving the series title alongside the English translation and, in smaller font, the catchline “Women are by nature weak, but they are incredibly strong when they become a mother.”

A poster of Mother’s Life (2018)

From Chapter 4

Figure 11. A poster of Mother’s Life (2018) with the catchline “Women are by nature weak, but they are incredibly strong when they become a mother” in the upper left-hand corner.

Two young Caucasian women singing the Chinese patriotic song I Love You, China during CCTV’s 2018 Spring Festival Gala. Both look sincerely moved by the song’s sentiments. The blonde woman on the right wears a blue traditional sleeveless cheongsam, and the dark-haired woman on the right a red dress and gold necklace.

Caucasian women singing the patriotic song I Love You, China

From Chapter 5

Figure 12. Caucasian women singing the patriotic song “I Love You, China.” Spring Festival Gala (2018).

The Xiao family

From Chapter 5

Figure 13. The Xiao family. Back row from left: Yunchu, Yuntian, and Yunshu with their partners. Front row: Mr. and Mrs. Xiao with Yunchu’s son in the middle. A Modern Family (2001).

A young Pang Tiande and Natasha happily chatting in front of a hut. They both wear Soviet military uniforms. Natasha smiles sweetly, while Pang gazes at her affectionately.

Pang Tiande and Natasha in their youth

From Chapter 5

Figure 14. Pang Tiande and Natasha in their youth. My Natasha (2012).

Pu Jizhou carrying the pregnant Rosa as they rush to catch the last train leaving Austria

From Chapter 5

Figure 15. Pu Jizhou carrying the pregnant Rosa as they rush to catch the last train leaving Austria. The Last Visa (2015).

KFC poster advertising afternoon tea. The male star Lu Han, with dyed hair and a feminine smile, points his fingers at a range of KFC food displayed on the table in front of him alongside white flowers. Four Chinese characters meaning “follow your heart and follow your character” appear above Lu’s head.

KFC advertisement featuring Lu Han

From Chapter 6

Figure 16. KFC advertisement featuring Lu Han, with the catchphrase “follow your heart and follow your character” at the top.

Wei Wuxian (left) and Lan Wangji (right) in a study at Cloud Recesses. They are both clad in white robes and have long hair. Lan looks intently at a jar of Chinese brushes as he chooses one, while Wei looks on with one arm supporting his head.

Wei Wuxian (left) and Lan Wangji (right) studying together at Cloud Recesses

From Chapter 6

Figure 17. Wei Wuxian (left) and Lan Wangji (right) studying together at Cloud Recesses. The Untamed (2019).

Bo Jinyan (left) and Fu Ziyu (right)

From Chapter 6

Figure 18. Bo Jinyan (left) and Fu Ziyu (right). Love Me, If You Dare (2015).

Online post juxtaposing the masculine image of the French football player Kylian Mbappé Lottin (left) with the rather feminine image of the Chinese boy band TFBOYS (right). In the picture on the left, Lottin grasps the championship cup in his right hand while making a fist with his left. He stands between two referees on a soccer pitch in a crowded stadium laughing triumphantly with a wide open mouth. In the picture on the right, the three members of TFBOYS, each holding a flower in his mouth, gaze flirtatiously at the camera.

Online post of Kylian Mbappé Lottin (left) and the Chinese boy band TFBOYS (right)

From Chapter 6

Figure 19. Online post juxtaposing the masculine image of French football player Kylian Mbappé Lottin (left) with the feminine image of the Chinese boy band TFBOYS (right).

Two pictures of the actor Oho Ou. On the left, he appears as Ye Ting in The Founding of an Army (2017), and on right the actor stands on stage in a feminine pose. In the first picture, Ye wears a revolutionary uniform with a red scarf tied at his neck and boasts an anachronistically stylish haircut. In the second, Ou poses for the cameras leaning against a projector screen with one leg jauntily bent backward.}

Oho Ou as Ye Ting in The Founding of an Army (2017) (left) and the actor in a feminine pose (right)

From Chapter 6

Figure 20. Oho Ou as Ye Ting in The Founding of an Army (2017) (left) and the actor in a feminine pose (right).

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Televising Chineseness: Gender, Nation, and Subjectivity

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Dai Tianli wielding the dog-beating staff

“Old Second Aunt” cross-dressed as the concubine in Farewell My Concubine

“Old Second Aunt” dying a heroic death on the battlefield

The “witchy” appearance of Kaede Sendo

Sato holding Sakko horizontally in an intimate scene

Xu Tian

Ma Guoliang with Jiang Yinan (left) and Huo Yaoyao (right)

Feng Teng peering at Xue Shanshan from his office

The adorable image of Xue Shanshan

Feng Teng as a child playing chess with his parents

A poster of Mother’s Life (2018)

Caucasian women singing the patriotic song I Love You, China

The Xiao family

Pang Tiande and Natasha in their youth

Pu Jizhou carrying the pregnant Rosa as they rush to catch the last train leaving Austria

KFC advertisement featuring Lu Han

Wei Wuxian (left) and Lan Wangji (right) studying together at Cloud Recesses

Bo Jinyan (left) and Fu Ziyu (right)

Online post of Kylian Mbappé Lottin (left) and the Chinese boy band TFBOYS (right)

Oho Ou as Ye Ting in The Founding of an Army (2017) (left) and the actor in a feminine pose (right)

Televising Chineseness: Gender, Nation, and Subjectivity

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