This research examines how the popular music industry has fostered queer female stardom in the greater China area since the 1980s. Compared with other forms of media, music seems easier as a platform to normalize, or even promote open, alternative sexual expressions with its highly affective qualities. With special references to mechanisms of regional singing contests, emphasis is placed primarily on three Chinese female champion-singers: Ho Denise Wan See (HOCC) from Hong Kong, Li Chris Yuchun from mainland China, and Zhang Yun-jing from Taiwan. The project argues that these singing contests contribute to the construction of contemporary transnational stardom, and are especially empowering and to the vocal privilege of emerging female singers. Consumption and reception of their music and sexually indeterminate public imaging will also be discussed as reinforcement of queer stardom and popularity throughout their performance careers. Since the public images and music videos of Ho, Li, and Zhang have constantly involved androgynous outfits and homoerotic imagery, and their subsequent songs loaded with sexually ambivalent or suggestive lyrics, the paper attempts to demonstrate that both their personal life and social responsibilities, both their sexuality and music weigh equally on their career. The star-texts are also important sites for signification and identification to spectators, so issues of fandom will be examined. As the candidate-stars actually grow with their fans in the “player-kill (PK)” context; they serve a mutual projection and monitory entity to mirror one another’s personal conduct and maturation. / published_or_final_version / Comparative Literature / Master / Master of Philosophy