Issue |
SHS Web of Conferences
Volume 185, 2024
2024 2nd International Conference on Language and Cultural Communication (ICLCC 2024)
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Article Number | 01017 | |
Number of page(s) | 6 | |
Section | Research on Language Teaching and Text Reading | |
DOI | https://doi.org/10.1051/shsconf/202418501017 | |
Published online | 14 March 2024 |
Resisting Trauma: Exploring Queer Emotional Narratives in Madame from the Perspective of Cultural Politics of Emotion in Chinese Context
College of Arts and Media, Tongji University, Shanghai, China
This paper delves into the documentary Madame, examining the intricate emotional narrative of Qihui Fan within the Chinese cultural framework using Sara Ahmed’s Cultural Politics of Emotion. By analyzing Fan’s experiences, encompassing childhood strife, youth prostitution, and grappling with a sense of nothingness in middle age, the exploration delves into his emotional journey and the construction of his queer identity. Employing Ahmed’s framework, it dissects how emotions, notably pain and pleasure, interplay within Fan’s narrative. Through resisting societal norms and embracing a persona—madame “BILAN DE LINPHEL,” Fan navigates pleasure as a form of rebellion against heteronormativity. However, this pleasure is fleeting, entangled in a cycle of despair, as his narrative oscillates between self-empowerment and trauma-driven despair. The analysis uncovers Fan’s struggle for recognition in a society with limited tolerance for queer identities. It scrutinizes the performance of emotions, the role of pleasure in resistance, and the narrative’s performative nature. Ultimately, this examination unravels the complex interplay of emotions, societal control, and identity struggles within the context of Chinese queer culture, shedding light on the challenges and nuances faced by individuals like Fan.
© The Authors, published by EDP Sciences, 2024
This is an Open Access article distributed under the terms of the Creative Commons Attribution License 4.0, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.
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