[T]he diversity of Asian cultures and the complex histories of their negotiation with non-normative forms of gender practices and sexual desire have produced films that suggest alternative models of queer identity, politics, and aesthetics (Leung, Queer 14).

Same-sex relationships are not a new thing. While many classify “homosexuality” as a Western "thing," an “import from abroad” or “an invading virus,” in studying ancient cultures and their history, one can find same-sex intimacy everywhere (Bachman 239). Though some countries blame America for spreading "homosexuality" to their country, same-sex relationships have always existed. What is new, however, is the labeling of these relationships as “other” through terms such as “homosexual.” Though there has always been homophobia, prior to the West’s decision in the 19th century to stomp out any sexual act that deviated from the reproductive, missionary position, including same-sex intimacy, female sexuality and masturbation, sexuality was much freer and open. In many countries same-sex relationships and variations in gender were accepted, if not worshipped. Now queers1 are fighting to regain the status they enjoyed for thousands of years that were lost in the colonialist religious cleansing of 19th century.

Images of queer women in film, television and other mainstream media have been few and far between. Those images that do exist frequently use stereotypical and non-threatening images. “Mainstream films that tackle queer themes often adhere to generic rules in order to ensure their general marketability” (Leung, Queer 15). Many lesbians, such as myself, look for queer images in everything they see, creating their own lesbian images in movies, television and even advertising. Nevertheless, the queer community is beginning to see more explicit images than were seen twenty years ago, or even five years ago. Sadly though, Western queers are ignoring brilliant films coming out of other countries, specifically Asian countries.

Prior to the 1980s, lesbians were primarily “branded as shameful, deviant, and unhealthy” in films (Hollinger 139). Though there were movies in the eighties with same-sex female relationships, like Personal Best (1982) and Desert Hearts (1985), the image of lesbians really began to change in the nineties with the film Go Fish (1994) and the much more mainstream coming out of Ellen Degeneres on national television in 1997. With 2004’s marriage controversy, we now have even more images of queers than ever before. With so many states handing out marriage certificates to same-sex couples, the World was conversing about an otherwise taboo topic. But most of the images of lesbians or bisexuals that we do see are targeted towards a male gaze (as well as a heterosexual gaze and white gaze), for entertainment (especially in the form of pornography, but also in humor or masquerade2). These images are meant to be non-threatening to the institution of heterosexuality. And of these images, few to none are of women of color, and even less are of third-world3 women of color.

To truly find more positive and real images, or at the very least, less negative portrayals, we must turn to non-mainstream, and often times, non-western films. Unfortunately, though they are less accessible and therefore not as popular as Hollywood films, independent films “are far more inclined to represent explicit queer sexuality, and they do so in creative, unrestrained and at times humorous ways” (Leung, Queer 16). Though not all independent films do this, it is easier to find more realistic portrayals outside of Hollywood then in mainstream films,4 which tend to tone down sexuality or only imply it so it is evident to those really looking for it. In the late nineties, this was done in the form of female friendship films such as Thelma & Louise (1991) and Fried Green Tomatoes (1991) (Hollinger 1). These movies are not only popular among heterosexual women (the “chic flick”) but also among lesbians as closeted same-sex relationships.5 We see the same thing in foreign films, especially in countries where queer films are rare or in some cases nonexistent. Two such films are India’s Fire (1996) and Hong Kong’s Intimates (Ji Sor, 1997).6 Films like Fire and Intimates, based on how they fit into the world of cinema, and more specifically queer cinema, may be labeled as lesbian films or may fit better into the category of the female friendship film. This is not to say that these films need to be labeled in the context of queer cinema, but it is important to note that these films have queer content. Though I like to think that I am knowledgeable in the realm of films with queer female content (otherwise known as lesbian films) and Western queer pop-culture in general, my shortcomings are in the area of more global queer studies. This is where I am now trying to expand my work, and thus, this is the angle I have come at this project from.