The urban environment and East Asian queer film festivals

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Acknowledgements

The research received a grant from Japanese Government (Monbukagakusho: MEXT) which makes possible to conduct fieldwork in Hong Kong, Beijing, Aomori, Tokyo, Kyoto, Osaka, Nagoya, Matsuyama, Takamatsu. Special thanks to all the film festival curators who took part in interviews and conversations: Wu Man and Fan Popo (the Beijing Queer Film Festival), Narita Yoko (the Aomori International LGBT Film Festival), Araizans, and Kato (Rainbow Reel Tokyo), Genya (the Kansai Queer Film Festival), Fujita (the Kagawa Rainbow Film Festival), and Eddy (the Ehime LGBT Film Festival). I am also grateful to Christopher Cabrera, who has read and commented on this article. Finally, I would like to express my gratitude to Professor Fujiki Hideaki for his unwavering commitment to the preparation of this article.

Disclosure statement

No potential conflict of interest was reported by the author(s).

Additional information

Funding

Ministry of Education, Culture, Sports, Science and Technology.

Notes on contributors

Qin Qin

Qin Qin received the Ph.D. degree in Humanities from Nagoya University in 2018. Qin’s research interests are in the areas of film studies, LGBTQ film festival and queer theory. Her recent academic writings include “A Waning Queerscape: The Hong Kong Queer Film Festival” (Journal of Film and Video, upcoming), “Queerness, Comrade Politics, and Urban City: Queer Film Festivals in Hong Kong, Taiwan and PRC China” (East Asian Sociology of the 21st Century), and “Tongzhi Film in China: Predicaments, Politics, and Progress” (THINK).