This paper examines the cultural meaning of Love Eterne (Liang Shanbo yu Zhu Yingtai, dir. Li Han-Xiang, 1963) from the perspective of queer history. I argue that the cross-influence of the cinematic representation of cross-dressing and extra-cinematic star discourse about the famous performer Lingbo (Ivy Ling Po) render her the epitome of female feminine masculinity, and her popularity among female fans, thus, can be read beyond a hetero-centric interpretation. Moreover, engaging with Taiwan's cultural history from the perspective of a queer-positioned reader provides a different understanding of the journalistic accounts of the highly emotional and affective star-fan interaction as a form of representation, illuminating a homoerotic subtext. Through the narrative tropes and motifs of cross-dressing, female singing, and most importantly, female feminine masculinity as an object of women's desire, two contemporary queer films—The Peony Pavilion (Wo de meili yu aichou, dir. Chen Kuo-Fu, 1995) and Love Me, If You Can (Feiyue qinghai, dir. Alice Wang, 2003)—exemplify the legacy of Love Eterne and the Lingbo frenzy in the representation of female homoeroticism. This establishment of a genealogical relationship between the discourse of Love Eterne and contemporary queer films is proposed as a supplement to enrich the scholarship that conceptualizes the representations of female homoeroticism in the Taiwanese cultural context.