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Building on Chinese film festival studies, it maps a screening ecosystem shaped by translation, mediation practices, audience engagement through discussion, and participation in the “pink economy.” Using ethnographic fieldwork, interviews, and analysis of film paratexts, it shows transcultural negotiations that position queer cinema as cosmopolitan yet locally embedded worldmaking.",{"@graph":69,"@context":122},[70,84,105],{"@type":71,"itemListElement":72},"BreadcrumbList",[73,77,79,82],{"item":74,"name":75,"@type":76,"position":8},"https://docshare.wps.com","Home","ListItem",{"item":78,"name":9,"@type":76,"position":14},"https://docshare.wps.com/document/",{"item":80,"name":40,"@type":76,"position":81},"https://docshare.wps.com/document/research-report/",3,{"item":83,"name":65,"@type":76,"position":19},"https://docshare.wps.com/document/screening-international-queer-cinema-in-china-research-article/141765/",{"url":83,"name":65,"@type":85,"image":86,"author":91,"headline":65,"publisher":94,"fileFormat":97,"inLanguage":63,"description":67,"dateModified":98,"datePublished":99,"encodingFormat":97,"isAccessibleForFree":100,"interactionStatistic":101},"DigitalDocument",{"url":87,"@type":88,"width":89,"height":90},"https://docshare.wps.com/thumbnails/screening-international-queer-cinema-in-china-research-article/141765.png","ImageObject",300,407,{"name":92,"@type":93},"Emma Mercer","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-09-18","2026-08-25",true,{"@type":102,"interactionType":103,"userInteractionCount":34},"InteractionCounter",{"@type":104},"ViewAction",{"@type":106,"mainEntity":107},"FAQPage",[108,114,118],{"name":109,"@type":110,"acceptedAnswer":111},"Why is international queer cinema often screened outside mainstream venues in China?","Question",{"text":112,"@type":113},"Official screening opportunities for foreign films are limited, and portrayals of LGBTQ+ characters face restrictions. As a result, queer films are more commonly shown at non-theatrical events such as festivals, clubs, and café screenings.","Answer",{"name":115,"@type":110,"acceptedAnswer":116},"How do screenings in China handle language differences?",{"text":117,"@type":113},"The article explains that translation mediates meaning across linguistic contexts. Screenings also use discussion and other engagement formats to shape how audiences receive and interpret queer film culture.",{"name":119,"@type":110,"acceptedAnswer":120},"What does the article argue about the kind of “public” created by these screenings?",{"text":121,"@type":113},"The screenings create a public that is both cosmopolitan and local. The authors further suggest it tends toward more neoliberal individualist approaches rather than purely collective ones, shaped through translation and transcultural practice.","https://schema.org",{"og:url":83,"og:type":124,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":126,"canonical":83},"index,follow",{"doc_id":128,"site_id":62},141765,1787665071,{"code":4,"msg":5,"data":131},{"doc_id":128,"user_id":132,"nickname":92,"user_avatar":133,"doc_module":4,"category_id":39,"category_name":40,"doc_title":65,"doc_description":67,"doc_content":134,"file_id":135,"file_url":136,"file_type":137,"file_size":138,"view_count":34,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":46,"language":139,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":140,"faqs":141,"seo_title":142,"seo_description":67,"update_tm":129,"read_time":31},962084925502,"https://ap-avatar.wpscdn.com/davatar_6f874abed73319feea01a86fa6f0fab8","Transnational Screens  \nISSN: (Print) (Online) Journal [homepage: ](homepage: www.tandfonline.com/journals/rtrc21)[www.tandfonline.com/journals/rtrc21](homepage: www.tandfonline.com/journals/rtrc21)  \nScreening international queer cinema in China Ting Guo & Jonathan Evans  \nTo cite this article: Ting Guo & Jonathan Evans (2023) Screening international queer cinema in China, Transnational Screens, 14:3, 217-235, DOI: 10. 1080/25785273 .2023.2231754  \nTo link to this article: [https://doi.org/10.1080/25785273.2023.2231754](https://doi.org/10.1080/25785273.2023.2231754)  \n© 2023 The Author(s) . Published by Informa UK Limited, trading as Taylor & Francis Group.  \n\n|  Published online: 06 Sep 2023. |\n| --- |\n|  Submit your article to this journal  |\n|  Article views: 736 |\n|  View related articles  |\n|  View Crossmark data |\n\nFull Terms & Conditions of access and use can be found at [https://www.tandfonline.com/action/journalInformation?journalCode=rtrc21](https://www.tandfonline.com/action/journalInformation?journalCode=rtrc21)  \nTRANSNATIONAL SCREENS 2023, VOL. 14, NO. 3, 217–235  \n[https://doi.org/10.1080/25785273.2023.2231754](https://doi.org/10.1080/25785273.2023.2231754)  \nScreening international queer cinema in China  \nTing Guo a and Jonathan Evans b  \na Department of Languages, Cultures and Films, University of Exeter, Liverpool, UK; bSchool of Modern Languages and Cultures, University of Glasgow, Scotland, UK  \nABSTRACT  \nGiven the restricted number of foreign films which can be officially screened in Mainland China and restrictions on the portrayal of LGBTQ+ characters in visual media, international queer cinema tends to be screened at non-theatrical events such as film festivals, film clubs and café screenings. Building on existing work on Chinese film festival studies, this article draws attention to the wider ecosystem of screening practices in China, which engage with international queer film culture through their choice of films and also their mediations of LGBTQ+ cultures. Drawing from ethnographic fieldwork, this article examines how such events navigate language difference through translation, how they engage audiences through discussion or other means, and how they participate in the pink economy. The sorts of negotiation of meaning taking place demonstrate the complexity of transcultural queer cinema practices. The reception of films in translation leads to a notion of queer cinema in China as a cosmopolitan but local activity that contributes to local worldmaking practices.  \nKEYWORDS  \nTranslation; screening; queer cinema; China; film festival  \nShanghai Pride Film Festival has, as of summer 2020, been cancelled (Shen 2020). It was oneof several film festivals in the People’s Republic of China to screen Sinophone and translated queer cinema, which is effectively banned from being screened in mainstream cinemas and on national television. Despite the difficulty of doing so, there are various grassroots groups screening translated queer cinema in China, as we explore in this article. These screenings are one of the places where Chinese audiences negotiate international – often but not only North American – understandings of queerness. They are one of the specific transcultural practices that Rofel (2007, 89) argues are constitutive of gay identities in China.  \nThis article examines how the screening of international queer cinema in Mainland China frames the films and their connection with the Chinese public, exploring the ways in which identities are negotiated in transcultural practice. The word ‘queer’ is used herein an inclusive sense to include all forms of non-heteronormative sexualities, though in practice the films we discuss tend to be focused on lesbians and gay men, with some representation of transgender characters. 1 An inclusive sense of ‘screened’ is also used: we investigate film clubs and collectives, film festivals and other non-theatrical events in  \nCONTACT Jonathan Evans  [e.evans@glasgow.a","cbCaiguFW6JOlzxB","https://ap.wps.com/l/cbCaiguFW6JOlzxB","pdf",1869627,"English","# Abstract\n# Constraints and screening contexts in Mainland China\n## Non-theatrical venues and grassroots screening\n## Language mediation and audience engagement\n# Ethnographic methods and textual analysis\n## Interviews and participant observation\n## Film paratexts and translation reception\n# Conclusions on transcultural queer cinema","[{\"question\":\"Why is international queer cinema often screened outside mainstream venues in China?\",\"answer\":\"Official screening opportunities for foreign films are limited, and portrayals of LGBTQ+ characters face restrictions. As a result, queer films are more commonly shown at non-theatrical events such as festivals, clubs, and café screenings.\"},{\"question\":\"How do screenings in China handle language differences?\",\"answer\":\"The article explains that translation mediates meaning across linguistic contexts. Screenings also use discussion and other engagement formats to shape how audiences receive and interpret queer film culture.\"},{\"question\":\"What does the article argue about the kind of “public” created by these screenings?\",\"answer\":\"The screenings create a public that is both cosmopolitan and local. The authors further suggest it tends toward more neoliberal individualist approaches rather than purely collective ones, shaped through translation and transcultural practice.\"}]","Screening international queer cinema in China - Research article | PDF"]