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

如果像何塞·穆尼奥斯（José Muñoz，2009）所说的那样，“酷儿是让我们觉得这个世界不够的东西”，那么没有什么比投机小说更酷儿的了。幻想被酷儿思想家们框定为一个具有激进政治潜力的场所，它既可以挑战话语中被描绘为“自然的”或“真实的”的极限（Butler 2004），又可以表达“对一个酷儿世界的预期照明”（Muñoz 2009）。类似地，在文学和电影研究中，投机小说及其体裁--例如幻想和科幻--被认为是“从侧面看待现实”（福克斯，2010年）和对抗霸权话语的一种手段。然而，酷儿理论和投机小说之间的联系仍然没有得到充分的探索。此外，关于投机小说的讨论总是集中在文学、电影和电视上。我的研究梳理了来自东亚和东南亚的艺术家在电影、录像和多媒体装置作品中的酷儿和投机之间的联系。将“酷儿亚洲”（Wilson 2006）的学术研究与投机小说，特别是奇幻小说的研究结合在一起，它将酷儿投机叙事理论化为“神话般的”，并研究了对身体，时间和全球化的神话般的批评。我认为，这些批评为另一种看待世界和存在世界的更奇怪的方式创造了空间。

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.