In using a discerning study of gay sexuality in Singaporean Chinese pop culture, particularly tv, movie, and also theater, this short article takes a look at exactly how the notion of the liminal features as an efficient important trope to engage with a shifting presence\/absence materiality of gayness in these depictions. It also argues that this presence\/absence is a consequence of the concentrically round power structure of cultural production and intake created by the Singapore media censorship design. The contradictions embedded in censorship techniques as well as gay cultural representations ultimately emerge out of Singapore's wish to present itself as a culturally open and dynamic society in its quote to be part of the worldwide capitalist network, while the country remains to hold onto its antiquated antisodomy laws acquired from the British Indian Penal Code.
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