This book examines the cultural practice of Chinese operatic cross-dressing in cinema, particularly in films from the 1980s and 1990s. While these representations adhere to traditional gender norms, they increasingly challenge patriarchal and heterosexual dominance. Chapter 1 establishes the theoretical framework, incorporating key gender studies terms and Judith Butler’s theories on gender performance, particularly in relation to American drag queens, which inform the analysis of cross-dressing in a specific historical and cultural context. Chapter 2 delves into the cultural background of cross-dressing in Chinese theatre, highlighting its long-standing tradition, including male impersonation in Beijing opera, which remains a significant aspect of Chinese operatic culture. The chapter also addresses the enduring fascination with female impersonators. Chapter 3 explores the history and aesthetics of cross-dressing films, focusing on operatic cross-dressing within Chinese opera and melodrama films. It argues that operatic cross-dressing serves as a complex cultural element that both upholds and subverts gender binaries. The analysis extends to Hollywood films featuring cross-dressing, revealing a dual nature that reinforces and deconstructs heteronormative and binary gender constructs. Chapters 4, 5, and 6 provide in-depth case studies of two Chinese films and one Hollywood film, grounded in the theoretical and historical frame
