I am now researching stories in which scholars go on a journey of enlightenment, but get interrupted and pestered by a ghost who wants to have sex. Judith Zeitlin has written superbly about this phenomenon in The Phantom Heroine: Ghosts and Gender in 17th Century Chinese Literature (University of Hawaii Press 2007). In her analysis, ghost romance exemplifies the tendency of Chinese literati to displace fear back onto a “specter”– an abstract figure whose loneliness and charm evokes complex feelings of lust, pity and tenderness. The ghost-figure also represents an “upside down”realm to intellectualism as it evokes powerful feelings of eroticism and melancholia involved in processes of thought and writing. This is why Zeitlin refers to a poem that captures the underside of intellectual types of work and efforts:
When our ancestors invented writing, ghosts wept in the night
When later people learned to read, their worries all arose
I am not scared of ghosts, and I’ m also worry-free
But at night as I amend the ancient text, my autumn lamp glows green.
(Gong Zizhen, Miscellaneous poem, 1838)
In many of the most glorious stories of ghostly seduction, the realm of Qing (high-strung, passionate and sentimental love) is idealized as a temporary or liminal state of being that then disappears and life goes back to normal.
Sex scene between two ghost-sisters in Erotic Ghost Story III (1992). The two sister first masturbate when peeping at the third sister having sex with a scholar, then they get together and make love.
While looking at Hong Kong movie classics, I came across a wide range of category III (x-rated) movies with sex scenes between scholars and ghosts. First of all I would like to mention Erotic Ghost Story III (1992), the third installment of a popular movie series directed by Ivan Lai. This movie is set in the Tang Dynasty and features Chu Chung who is about to get married but goes astray when falling into the “other realm” where three ghost-sisters are competing to have contact with him.
The first sex scene is a remarkable and drawn out love scene between Chung Chu and one of the sisters, Yun Meng. As the sex goes by, we find out that the the two other sisters are actually peeping at the couple through a key hole. In a remarkable change of perspective, the movies then pursues the sexual fantasies of the two sisters. First the camera zooms in on their beautiful bodies as they are masturbating and fantasizing in separate beds, then it shows how they get together and start making love to each other. One sister pleasures the other orally and then pours water on her body to clean her.
It is almost as if there is a moment of solidarity between the main narrative—the superb sex between scholar Chung Chu and his ghost–and the side-narrative of sexual chemistry between two other sisters. The side-narrative is not pursued any further in this movie, but it does represents one of the best moments of “accidental lesbianism” in Hong Kong cinema.
