〈Observations on Queer Cinema in Japan〉 by Mitsuyo WADA-MARCIANO
Professor Mitsuyo Wada begins by tracing the presence of queer representations in Japanese cinema, discussing the commodification of queer imagery, cross-media collaborations, and the role of film festivals in popularizing queer content. She emphasizes that while films can serve as political tools and cross-media works foster universality, the mainstreaming of aesthetically pleasing yet simplistic imagery might obscure the marginal and combative contexts of queer existence. This is a caution we must heed.
〈Roots, Reach, Rising: The Past, Present, and Future of GagaOOLala〉 by Jay Lin
Jay Lin, founder of the LGBTQ+ streaming platform GagaOOLala, introduces the platform's origins and development while examining the production of queer media across different regions. He highlights how queer media can function as a soft power tool to garner public attention. Responding to Professor Wada, Lin acknowledges that while streaming platform content may lean toward entertainment, it remains a vital means of promoting societal diversity and fostering inclusivity.
Merle Groneweg
Merle Groneweg, co-organizer of Berlin’s XPOSED Queer Film Festival, elaborates on the festival's evolution from a small community screening event to a four-day celebration of queer cinema. Groneweg argues that in an era dominated by streaming platforms, physical interaction is crucial. Audience reactions, Q&A sessions, and discussions are what inspire him to continue organizing the festival. By incorporating activities such as art workshops, crowdfunding for queer short films, and drag shows, the festival expands its reach and highlights the diversity of queer content and identities. This approach seeks to gradually present queer transformations to mainstream audiences.
Q: Can queer media act as a driving force or risk being assimilated into the mainstream in your respective contexts?
Jay Lin: My mission is “to turn marginalized individuals into recognized members of the society.” However, there remains a gap between films selected for festivals and content produced for streaming platforms. The latter requires sustainable operations, balancing various aspects, and sufficient funding to create diverse works. With evolving societal contexts, audience preferences, viewing habits, and creators are no longer confined to those identifying as LGBTQ+. This is a positive shift, introducing a wider range of perspectives and content. Whether queer representations are compromised will depend on the critical judgment of audiences.
Mitsuyo Wada: I don’t oppose the commodification of queer media, but it’s equally important for platform operators and filmmakers to connect and engage in dialogue.
Merle Groneweg: The focus shouldn’t be on opposing the mainstream but rather on collaborating to challenge societal norms, particularly heteronormativity. While differences in experimental works and streaming platform budgets remain, mutual recognition and cooperation are vital. For instance, Berlin’s queer film festival initially operated with a modest budget of €5,000, and curators couldn’t even take salaries. Only recently have we gained more funding and visibility. Additionally, due to financial constraints, we can only provide English subtitles, which limits access for many viewers.
Q: BL and GL genres have gained visibility, but transgender representations face greater challenges. Can different programs help amplify these voices?
Jay Lin: Any time is a good time to address this, but it requires integration with other aspects. Since viewership of transgender narratives remains relatively low, we must explore better ways to combine them with offline engagement to reach more people.
Merle Groneweg: In Berlin, transgender women’s voices have substantial presence on streaming platforms, whereas transgender men are less represented. However, in experimental domains, transgender men are more visible—a pattern I’ve observed.
Q: There is a trend toward desexualization in contemporary works. Could this align with Asia’s traditionally desexualized narratives? Alternatively, has the rise of platforms like Netflix, with its more open discussions of sexuality, been influenced by Western viewing practices? How do you view these complexities?
Mitsuyo Wada: My recent research has shifted from fictional films to documentaries. For example, familiar figures like Doraemon normalize queer concepts within traditional media. However, beneath this normalization lies a limitation and homogenization of aesthetics. Queer works offer no definitive answers to this issue; their ever-changing and evolving nature is, in fact, the essence of queerness.
