It was never meant to be easy to choose a film and perform an analytical surgery on its multiple reels of film. The disassembling of the frames created a chaotic collection of narratives and meanings. To make sense out of this chaos was to ask myself to pick up the pieces, frame by
frame, and recreate a bricolage of what this particular film meant to me and hence, what I wanted to say about it. Along the process of an analytical surgery, another factor came to affect my choice of which frame to cut as well as which frames to join together. Namely, my personal values
that affect every frame that was chosen and every word that was printed on this paper, and how my own cultural, moral and social values affect the reading of a film. It depends on how effective can I analyze through a web of intangible social relations where I stand out as an Asian lesbian
feminist activist and a graduate student in the Educational Studies department of an academic institution, namely, the University of British Columbia. But it also depends on how clear am I in where I situate myself among different personal identities and the meanings of these identities prescribed
by myself and by others. As a result, personal standards of what counts as representation and what does not become evident in the splicing and cutting of frames.
Asian Cinema is a seminal journal, which has been published since 1995 by the Asian Cinema Studies Society under the stewardship of Professor John Lent. From 2012 Asian Cinema will be published by Intellect as part of our Film Studies journal portfolio. The journal currently publishes a variety of scholarly material - including research articles, interviews, book and film reviews and bibliographies - on all forms and aspects of Asian cinema. The journal's broad aim is to advance understanding and knowledge of the rich traditions of the various Asian cinemas, thereby making an invaluable contribution to the field of Film Studies in general.