Speculative fiction and contemporary artists' film and video from East and Southeast Asia

如果像何塞·穆尼奥斯(JoséMuñoz，2009)所说的那样，“怪异是那种让我们觉得这个世界不够的东西”，那么没有什么比投机性小说更怪异了。幻想已被酷儿思想家框定为一个具有激进政治潜力的场所，它既可以挑战被论述为“自然”或“真实”的东西的极限(Butler 2004)，也可以清楚地表达“对一个酷儿世界的预期启发”(Muñoz 2009)。同样，在文学和电影研究中，投机性小说及其流派--例如奇幻和科幻--被认为是一种‘侧目看现实’(Fowkes 2010)和争霸话语的手段。然而，酷儿理论和投机性小说之间的联系仍然没有得到充分的探索。此外，对投机小说的讨论总是集中在文学、电影和电视上。我的研究梳理出了同性恋与东亚和东南亚艺术家的电影、视频和多媒体装置作品中的投机性之间的联系。它结合了对《酷儿亚洲》(威尔逊2006)的学术研究和对投机小说的研究，尤其是对奇幻小说的研究，将怪异的投机叙事理论化为“神话般的”，并考察了对身体、时间和全球化的令人难以置信的批评。我认为，这些批评为看待和存在世界的另类、更奇特的方式提供了空间。

If, as José Muñoz (2009) argues, 'queerness is that thing that lets us feel that this world is not enough', then there is nothing quite so queer as speculative fiction. Fantasy has been framed by queer thinkers as a site of radical political potential which can both challenge the limits of what is discursively figured as 'natural' or 'real' (Butler 2004) and articulate an 'anticipatory illumination of a queer world' (Muñoz 2009). Similarly, in literature and film studies speculative fiction and its genres-fantasy and science fiction, for example-are considered a means of 'looking sideways at reality' (Fowkes 2010) and contesting hegemonic discourses. Yet connections between queer theory and speculative fiction remain under-explored. Discussions of speculative fiction, moreover, invariably focus on literature, cinema, and television. My research teases out connections between queerness and the speculative in film, video, and multi- media installation works by artists from East and Southeast Asia. Bringing together scholarship on 'queer Asia' (Wilson 2006) with studies of speculative fiction, especially the fantastic, it theorises queer speculative narratives as 'fabulous' and examines fabulous critiques of the body, time, and globalisation. And these critiques, I argue, make space for alternative, queerer ways of seeing and being in the world.