disciplined18comic.fun

Boys'Love,Cosplay,andAndrogynousIdolsQueerFanCulturesinMainlandChina,HongKong,andTaiwanEditedbyMaudLavin,LingYang,andJingJamieZhaoHongKongUniversityPressTheUniversityofHongKongPokfulamRoadHongKongwww.
hkupress.
org2017HongKongUniversityPressISBN978-988-8390-80-9(Hardback)Allrightsreserved.
Noportionofthispublicationmaybereproducedortransmittedinanyformorbyanymeans,electronicormechanical,includingphotocopy,recording,oranyinformationstorageorretrievalsystem,withoutpriorpermissioninwritingfromthepublisher.
AnearlierversionofChapter10waspublishedunderthetitle"GirlsWhoLoveBoys'Love:JapaneseHomoeroticMangaasTransnationalTaiwanCulture"inInter-AsiaCulturalStudies13,no.
3(2012):365–83.
ReprintedbypermissionofTaylor&FrancisLtd,http://www.
tandfonline.
com/.
BritishLibraryCataloguing-in-PublicationDataAcataloguerecordforthisbookisavailablefromtheBritishLibrary.
10987654321PrintedandboundbyParamountPrintingCo.
,Ltd.
inHongKong,ChinaAcknowledgmentsviiNoteonRomanizationandChineseandJapaneseNamesxIntroductionxiJingJamieZhao,LingYang,andMaudLavinI.
MainlandChina1.
ChineseDanmeiFandomandCulturalGlobalizationfromBelow3LingYangandYanruiXu2.
Cosplay,Cuteness,andWeiniang:TheQueeredKe'aiofMaleCosplayersas"FakeGirls"20Shih-chenChao3.
"TheWorldofGrandUnion":EngenderingTrans/nationalismviaBoys'LoveinOnlineChineseHetaliaFandom45LingYang4.
QueeringthePost-LWordShaneinthe"GardenofEden":ChineseFans'GossipaboutKatherineMoennig63JingJamieZhao5.
FromOnlineBLFandomtotheCCTVSpringFestivalGala:TheTransformingPowerofOnlineCarnival91ShuyanZhou6.
DongfangBubai,OnlineFandom,andtheGenderPoliticsofaLegendaryQueerIconinPost-MaoChina111EgretLuluZhouII.
HongKong7.
DesiringQueer,NegotiatingNormal:DeniseHo(HOCC)FandombeforeandaftertheComing-Out131EvaCheukYinLiContentsviContents8.
HongKong–BasedFansofMainlandIdolLiYuchun:ElectiveBelonging,GenderAmbiguity,andRootedCosmopolitanism157MaudLavinIII.
Taiwan9.
ExploringtheSignificanceof"Japaneseness":ACaseStudyofFujoshi'sBLFantasiesinTaiwan179WeijungChang10.
GirlsWhoLoveBoys'Love:BLasGoodstoThinkwithinTaiwan(withaRevisedandUpdatedCoda)195FranMartinWorksCited221NoteonContributors246Index249Chinese-speakingpopularcultureshaveneverbeensoqueerasinthisdigital,globalistage.
InmainlandChinawhereentertainmentmediaproductswithexplicithomosexualthemeshavelongbeenbannedfrompublicscreening,itscontemporarymediaindustryisnonethelesseagertoridethewaveofqueercon-notationsandsentiments.
InDecember2015,GoPrincessGo!
(Taizifeishengzhiji,LeTV,2015),athirty-six-episode,lightheartedcomedypepperedwithgenderflips(xingbiefanzhuan)andelementsofBL(Boys'Love,afansubculturenar-ratingmalehomoeroticism)andGL(Girls'Love,afansubculturenarratingfemalehomoeroticism)becameoneofthemostpopularweb-basedTVdramasinmainlandChina.
Theshowhadbeenviewed2.
4billiontimesbeforeitwaspulledofflinebygovernmentregulatorsforrevisionbecauseofitsexplicitlysexualandindecentcontentinJanuary2016.
1InHongKongandTaiwan,queerculturesnotonlyhavepermeatedofflineconsumeristsocieties,socialmediauses,andcyberspaces,butalsohaveappearedinpoliticalmovements.
2Inthe2014HongKongUmbrellaMovement(Yusanyundong,aprodemocracypoliticalprotestinitiatedbyHongKongstudents),onlineBLfansandstudentprotestorscreativelypairedtwomalestudentleaders,AlexChowandLesterShum,asgayloversandproducedavarietyoffanartdevotedtothiscouple.
3Similarly,earlierin2014,duringtheSunflowerStudentMovementofTaiwan(Taiyanghuaxueyun,aTaiwanesecivicprotest),twomalestudentleaders,ChenWei-tingandLinFei-fan,werealso"rumoredtobelovers.
"4Inresponsetothisproliferationofqueerrepresentations,productions,fan-tasies,anddesires,especiallyasmanifestedonline,Boys'Love,Cosplay,andAndrogynousIdols:QueerFanCulturesinMainlandChina,HongKong,andTaiwan(QFChereafter)exploresextended,diversified,digitized,andtransculturallyinformedfancommunitiesandpracticesthathavebeendevotedtoandthathavecultivatedvariousformsofqueerness.
Thefocusofthisvolumetravelsamongfansoftransnationalandrogynouscelebrities,suchasHongKongidolHOCC(DeniseWan-SeeHo,seechapter7),mainlandChinesesuperstarLiYuchun(ChrisLee,seechapter8),TaiwaneseactressJoeChenChiao-En(chapter6),IntroductionJingJamieZhao,LingYang,andMaudLavinxiiJingJamieZhao,LingYang,andMaudLavinandtheAmericanactressKatherineMoennig(chapter4);thecarnivalesqueBLmatchmakingoftwoChinese-speakingmalecelebritiesperforminginCCTV'sSpringFestivalGala(Yangshichunwan,seechapter5);theonlineandofflinegenderedperformancesofanall-malecosplay5groupwhosemembersmimicthegirlishcutenessofJapaneseACG(anime,6comics,andgames)charactersandtheKoreansinginggroupGirls'Generation(chapter2);mainlandfanzinesdedicatedtotheJapaneseACGseriesHetalia:AxisPowers(chapter3);fan-madevideos(fanvids)starringawell-knownSinophonictransgendermediacharacter,DongfangBubai(InvincibleEastern,seechapter6);transnationalproductionanddistributionnetworksofmainlanddanmei(theChineseversionofBL,seechapter1)fandom;andthemultidimensionalJapanesenessofTaiwanesefemaleBLfandoms(chapters9and10).
InQFC'sinvestigationsofsuchdiverseChinese-speakingfancommuni-ties,"queer"isemployedasaproductiveanalyticallensthat"definesitselfdiacriticallynotagainstheterosexualitybutagainstthenormative,"7includinganyperspectivalnormsandidealsinbothcontemporarypublicculturalandscholarlydiscoursessurroundingnation-states,linguistics,geopolitics,eth-nicities,genders,andsexualities.
Therefore,itservesasanumbrellatermusedinthisvolumetolooselyrefertoallkindsofnonnormativerepresentations,viewingpositions,identifications,structuresoffeelings,andwaysofthinking.
Accordingly,therangeofqueerfandomsQFChighlightsincludesexplicitlyhomosexual-themednarrativesand,beyondsuchcategorization,agreatlydiversifiedmatrixofnonheteromarital,nonnormativesociocultural,sexual,andgenderrepresentationsaswell.
DespitethefactthatqueerfanpracticeshaveenjoyedalonglocaltraditioninChina,8contemporaryChinese-speakingqueerfancultureshavealsobeenshapedbytheincessantandcomplextransregional,cross-cultural,andtrans-nationalculturalflowsamongEastAsianculturesandbetweentheEastandWest—aswellaspositioningsvis-à-visofficialcultureandtraditionalnorms.
MostqueerfantasiesandnarrativesinChinese-speakingfandomsarecreatedeitherinthestyleofBLorGL.
BothtermsareborroweddirectlyfromJapanandhavetheirrootsinJapanesemanga(comics).
Intermsoftransnationalculturalflowsandtheirinfluence,consider,forinstance,thatmanyChinese-speakingqueerfansplayfullydescribethemselvesaszhai(宅),ji(基),fu(腐),oracombination,meaningrespectivelystayingathomealldayandrelyingontheInternettoconnectwiththeoutsideworld;havingclosesame-sexfriendsorsame-sexdesires;andharboringastronginterestinBL,GL,orboth.
Thewordszhaiandfuderive,inthatorder,fromtheJapanesetermsotaku(peoplewithobsessiveinterests)andfujoshi(rottenwomen)andwereintroducedtotheChinese-speakingworldbywayofTaiwan.
TheformerreferstoobsessiveACGfans,mostlymale,whereasthelatter,passionatefemaleBLfans.
ThewordjiistheCantonesetransliterationoftheEnglishword"gay"andisnowwidelyusedinMandarin-speakingregionstorefertohomosocialityandhomoeroticismIntroductionxiiiaswell.
Thiscomplextranslingualmélangeoffanidentitiesgivesaclearsignalofanunabasheddevotiontodigitalculture;tocommunicatingviasocialmedia;tocreatingnarrativesthatcirculatedigitally;toembracingthemultiplepartici-patoryrolesoffansinfandoms,particularlythoseinvolvingqueersensibilities,codes,andsocialities.
InresponsetothesespecificitiesofcontemporaryChinese-speakingfancultures,inanalysesrootedinQFC'smajorlocations—mainlandChina,HongKong,andTaiwan—issuesofcross-borderconsumptionandborrowingofmaterialsaretracedbyallofourcontributorsinrelationtolocalcontexts.
Mostofthemalsodelineatefans'extensiveuseofdigitaltechnologyandtheuncertainty,fluidity,andperformativityofsubjectivity,identity,anddesireincyberspace.
Sincelocalizedissuesofcensorshipanddifferentifcloselyrelatedhistoriesofgenderandsexualitytraditionsareparamountinsuchconsidera-tions,QFC'sgeographicorganizationhelpstoilluminateculturaldifferencesamonglocationsandthecompetingforcesandfactorsinfluencinggeoculturaldissimilaritieswithinChinese-speakingqueerfandoms,evenatthistimeofglobaldigitalcurrents.
TorightanimbalanceinthescholarlyliteratureonqueerEastAsia,thisvolumeisweightedtowardanexplorationofqueerelementsofmainlandChinesefandomsthathavebeenlessoftenwrittenaboutthanmorevisible,queer-influenced,publicculturalaspectsinHongKongandTaiwan.
9Notably,becauseofthestringentcensorshipregimeinmainlandChina,belong-ingthroughparticipationtoqueerfandomsinvolvessomerisk—anditarguablyoffersastrongalternativetopublicspacesmarkedasmorenormativeandoffi-ciallysanctioned.
ResearchingChinese-SpeakingQueerFanCulturesInanalyzingcontemporaryChinese-speakingfanculturesthroughaqueerandtransculturalperspective,QFChasengagedinaproductivedialoguewithawiderangeofacademicinquiries,fillinggaps,contributingtheoreticalinsights,andexpandinghorizons.
TheinceptionandorganizationofthevolumehavebeengreatlyinfluencedbyqueerAsianstudies,queerChinastudies,andqueerSinophonestudies.
10Wesharewiththosestudiesacommonfocusonnon-normativegenders,sexualities,anddesires;acomplexunderstandingofthehybridandheterogeneousnatureofChinese-speakingsocioculturalpracticesandexperiences;andastrongcommitmenttodecenterWesterngenderandsexualityknowledgeandtheories.
Yet,unlikethosestudiesthat"havetendedtoclusteraroundethnographicapproachestospecificsitesofqueersociallife,ontheonehand,andcriticalinterpretationsofqueer-themedliterature,films,andothermedia,ontheother,"11QFCisorientedtowardstudiesofdigitizedfansubculturescombiningethnographicapproachesandothercriticalanalyses,tobothreflectthechangingfaceofChinese-speakingpopularculturesandfurtherbroadenthescopeoftheseexistingfields.
xivJingJamieZhao,LingYang,andMaudLavinQFCalsobridgesthegapbetweenthewell-establishedAnglo-Americantradi-tionofmediafanresearch,theincreasedacademicattentiontocelebrityfandomsinfanstudies,12andthemorerecentlyemergedstudiesoftransnationalfandomswithJapaneseorigin,suchasotakucultureandBLfandoms,inaconcretetranscul-turalChinese-speakingfannishcontext.
ExistingWesternqueerfandomstudies,particularlythescholarshipdedicatedtoslash/femslash(fanwritingpracticesthatexploremale/femalehomoeroticromances),hasflourishedsincethelate1980s.
13Yet,thisclusterofqueerfanresearchinthemainoverlookstheexistenceofnon-Westernqueerfandomanddoesnotexplainthecontextualintricaciesandparticularitiesofdiversegroupsofglobalqueerfans.
14Meanwhile,contrarytothegrowingbodyofliteratureonthelocal,transnational,andcross-culturalcon-sumptionsofJapaneseBL,15onlyafewrecentEnglish-languagescholarlyworkshavebrieflycoveredBL/GLfandomandACGfanpracticesinmainlandChina,HongKong,orTaiwan.
16Throughextensiveandmultimethodologicalresearch,ourcontributorsprofferuniqueinsightsthatmakethisvolumebothadisruptiveforcetoanysimplistic,ifnotignorant,understandingsofnon-WesternqueerfandomandasignificantalternativetotheAnglo-Americanmodeloffandomstudies.
Forinstance,chapter7powerfullyillustratesthedifferencesbetweenandrogynyinWesterncontextsandtheSinophonicnotionofneutrosexuality(neutralgenderorsexualidentities);whilechapter2delimitsaChinese-specifictransgenderperformanceofanEastAsianfemininecuteness.
Andchapters9and10demonstrateandcontextualizethesubjectivelyconstructedTaiwanesefantasiessurrounding"Japaneseness"indissimilarways.
QFCdelineates,highlights,andcomplicatestheexistenceofsomedisquiet-ingambivalencetowardawidearrayofgender,sexual,racial,sociocultural,andpoliticalidentitieswithinfannishspaces.
Itsessaysbringparticularpressuretobearonkeyissuesofonlinefannegotiationswithculturalstrictures(chapters4,6,7,and8);mediacensorship(chapters1,5,and10);politicalidentities(chapters3and8);andhistoricallegacies(chapters7and9),particularlyinthePeople'sRepublicofChina(PRC).
Argumentsemphasizethecomplexitiesandtransgres-sivenessoftheseinterfacesratherthaneasypolaritiesbetweengeneralresistanceandcapitulation(chapters2,3,and4).
Someofourcontributorsalsoexplorenondichotomousintricaciesbetweengrassrootsproductionandtop-down,profit-drivenmassmediaindustries(chapters5and6).
Thus,weseefandomitselfasqueerinessence,asithaspositioneditselfasa"heterotopia"17—asocialandcommunalspacethathasbeeninconstantexchangeandcontestationwithmainstreamsocietyandcultures.
Fancommunitiesandnetworksingeneralaffordfecundgrassrootsplaygroundsforseekingofalternative"temporalities"andactive"place-makingpractices"thataredisruptivetoandreinscriptingofmainstream,hegemonicorders.
18ResearchinvolvedinQFCmostlyfocusesonqueerfannishfantasiesandactivitiesproducedmainlybywomenforwomen.
Thisgenderingnotonlycorre-spondstothedemographicsofChinese-speakingqueerfandomsbutalsopointsIntroductionxvtothekeyroleofthesesitesascounteringtheevidentgenderhierarchyinthesweepofactivefandomsingeneral.
Suchhierarchyhasbeenintegraltopatriar-chyandmisogynyinfancultures—ashaslongbeenrecognizedinpreviousfanstudies.
19Whileweb-basedChinese-speakingqueerfandomsengageasurprisingrangeofparticipantsofdiversegendersandsexualities(forinstance,seechapters4,7,and8),theyprovideparticularlyvaluablespacesforwomen—aswellasothers—toexerciseagency,publiccommunication,andcreativity,partlyasaresultoftherecentwaveoffeministandlesbian,gay,bisexual,transgender,andqueer(LGBTQ)movementsandinfluences;theincreasingpowerofwomencon-sumers;therelativegenderlevelingofdigitaltechnology;andconverselytheenduringlackofpowerwomen—andminoritariansubjects—stillexperienceinotherpublicsintheregions.
Hence,thequestionofhowthesefandomsmightsignifyandappealtowomenremainsakeyissuethatweaddressthroughoutthevolume.
However,wearenotclaimingthattheseandotherqueerfandomsingeneralareexclusivelyfemale,asonline(fannish)identityisalwaysper-formativeandfictional,20andthenonnormativeimages,gazes,identifications,andimaginariesincyberfannishspaceshavethepowertodisturbthemoreconventionalaspectsofthe"heterosexualmatrix"21by"dramatis[ing]incoher-encesintheallegedlystablerelationsbetweenchromosomalsex,genderandsexualdesire.
"22Infact,someofouressays(seechapters2,4,and6)specificallyexaminetheexplicitplaywithcross-genderandcross-sexual-orientationidenti-tiesgreatlyevidentinthefandomsinquestion.
Others(seechapters4and7)implicitlysuggestarenegotiationofcertainvirtual,imaginedrelationsalonghomosociallines,attimeblurring,attimescontestingrigidboundariesbetweenfanswhodefinethemselvesasLGBTQpeopleandthosewhodonot.
ContextualizingToday'sChinese-SpeakingQueerFanCulturesTheChinese-speakingentertainmentmediaindustry'shighprofilingofandrog-yny,homosociality,cross-dressing,andqueernesshasnotonlybeenmetwithanenthusiasticifcontroversialreceptionandextraordinaryeconomicsuccessbutalsoinrecentdecadescreatedaboominChinesequeerfandoms.
23AlthoughQFCfocusesoncontemporaryfandoms,particularlydigitalones,thereareperti-nenthistoricalprecedents,ofcourse.
Intherealmofpopmusic,onecanprovidealonglistof"suspectedLGBTpopartistssincethe1980s.
"24ThelateHongKongstarLeslieCheungKwokWingwasaChinesecelebritywellknowninternationallyforhisandrogynouspersona,frequentcross-dressingmediaperformances,andreal-lifebisexualrelationshipsduringthe1980sand1990s.
Further,thenonconformistgenderperformancesandreal-liferomancesoftheChinese–HongKongfemalesingerFayeWonghasmadeheraCantopoplegendsincethe1990s.
25Inthe1980sand1990sTaiwanesemusicindustry,afewtomboyishfemalesingers,suchasJesseyLinandEaglePan,alsoexperiencedhugesuccess.
TheTaiwanesefemalemusicxviJingJamieZhao,LingYang,andMaudLavingroupS.
H.
E.
,famousforitsmembers'femalemasculinityandsame-sexintima-cies,hasenjoyedalongandprosperouscareersinceitsdebutin2001.
26In2011,aself-identifiedzhongxing(neutrosexual)femalemusicgroupMissTERmadeitsdebutinTaiwanandhassincethengainedsignificantpopularityinHongKongandTaiwan.
Thegroupiscomposedoffivetomboyishgirls,someofwhomaregrassrootslesbiancelebritiesandhavebeenoutoftheclosetforyearsincyber-space.
Intheearly2010s,thepubliccoming-outofDeniseHoandAnthonyWonginHongKongandtheteamleaderofMissTERJinDaiinTaiwanfurtherstimu-latedthegrowthoftheirqueerstardominChinese-speakingregions.
BecauseofthePRCgovernment's"noencouraging,nodiscouraging,andnopromoting"attitudetowardLGBTQcommunities,fewhigh-profilemainlandpopstarshavecomeoutinpublic.
Nevertheless,thevisibilityofqueergenderperformancesandpersonaehasrisenremarkablyinmainlandChinasincetheadventofgloballyformattedrealitytelevision.
In2005,thesuddensurgeinthenumberofandrogynousfemalecelebritiesinoneofthemostinfluentialandsuc-cessfulChineserealityTVsingingcontests,SuperGirl(Chaojinüsheng,HunanSatelliteTV)helpedtheshowgainmorethan400millionviewersforitsfinalcompetitionepisodethatyear27—nottomentionthesuddenproliferationofmalehomosocialandhomoeroticimagesinitslatercopycatshows,HappyBoy(Kuailenansheng,HunanSatelliteTV,2007,2010,2013)andMyHero(Jiayou!
Haonan'er,DragonTV,2006–2007).
InthecontemporaryfilmindustriesofmainlandChina,HongKong,andTaiwan,directorswithmajorqueer-themedworksshowcaseadiversityofwaystorepresentChinesemalehomosexualityandfashion,femalemasculinity,homoeroticism,andlesbianism.
28EvenundermainlandChina'scomplexmediacensorshipregulations,queernesshasbecomeauniquesellingpoint.
Althoughsince2008,theStateAdministrationofPress,Publication,Radio,FilmandTelevisioninmainlandChinahascategorizedimagesofhomosexualityinmassmediaasvulgarorobscenecontentthatneeds"tobecutorrevised,"29thecon-notationsofnonheterosexualitycanstillbeseeninsomemainlandChineseTVdramasandmovies.
Thewell-receivedChineseTVseriesPalaceofDesire(Daminggongci,LiShaohong,CCTV8,2000)andtheChineseNewYear'sblockbusterIfYouAretheOne(Feichengwurao,FengXiaogang,2008,China),forexample,bothcontainnonheterosexualcharacters.
TheThaitranssexualcelebrityRosebecamefamousamongChineseviewersafterstarringinthe2012ChineseNewYear'sfilmLostinThailand(Renzaijiongtuzhitaijiong,XuZheng,China),whichgeneratedRMB1.
26billion(USD230million)inrevenueandhasbeenrankedas"thehighest-grossing"Chinese-languagedomestic-releasedmovieinhistory.
30Inaddition,themostprofitablefilmseriesproducedbythemainlandChinesefilmindustry,TinyTimes(Xiaoshidai,GuoJingming,2013–2015,China),31isfamousforitsconstantdeploymentandmarketingoffemaleandmalehomosocialityandhomosexualitytoapredominantlyfemalefanaudience.
Oneshotintheseriesfeaturesthetwofemaleleadskissingeachother'slipsIntroductionxviiasasignofintimatesame-sexfriendship,whileanothershotshowsamalecharactercarryinganothermalecharacterlikealover.
Whilenonmainstreammalemasculinitiesandcross-dressingperformanceshaveoftenbeenenactedbycomediansorintraditionaloperacharactersonChineseCentralTelevision(CCTV),transgendercelebritiesandperformancesrecentlyhavealsoappearedinMainlandentertainmentshowsproducedbyprovincialTVstations,suchasTheVoiceofChina(Zhongguohaoshengyin,ZhejiangTV,2012–),YourFaceSoundsFamiliar(Baibiandakaxiu,HunanSatelliteTV,2012–2014),DayDayUp(Tiantianxiangshang,HunanSatelliteTV,2008–),andJinxingShow(Jinxingxiu,DragonTV,2015–).
InHongKongmediahistory,transgendersubplotshaverenderedboththefamousmartialartsnovelTheSmiling,ProudWanderer(Xiao'aojianghu,JinYong,1967–1969)anditsadaptedfilmseriesintheearly1990s(TsuiHark,1992–1993,HongKong)unprecedentedlysuccessful.
Inthepastdecade,theTaiwaneseTVindustryhasalsowitnessedageneraltrendofanenhancedpresenceofqueerimages.
Adaptedfromthefar-reachingTaiwanesequeernovelswrittenbyHsien-yungPai,theTVshowsCrystalBoys(Niezi,PTV,2003)andLove'sLoneFlower(Gulianhua,CTS,2005)havereceivedgreatmediaandpublicattention.
SomeofthemostpopularTaiwaneseTVtalkshows,suchasMalatianhougong(StarTV,2004–)andKangxilaile(CtiTV,2004–2016),havealsofeaturedtransgen-derorgayhostsformorethanadecade.
OneofthemostpopularTaiwanesevarietyTVshows,Guess(Wocaiwocaiwocaicaicai,CTV,1996–2011),hasfrequentlyproducedsegmentswithtransgenderandnonheterosexualthemessince2007.
InthefirstseasonoftheTVshowSuperGirl'sTaiwanesecounterpart,SuperIdol(Chaojiouxiang,SET,2007–),thefemalecontestantJingChang'snotablyandrogy-nouspersonadrewoverwhelmingaudiencesupportandhelpedhereventuallywinthecompetitionin2008.
Furthermore,inthepastseveralyears,theinformationsurroundingThaiqueerentertainmenthasbeenimportedandwidelycirculatedwithinonlineChinese-speakingfannetworks.
BecauseoftheirenormouspublicappealamongtheChinese-speakingaudience,afewThaicelebritieswhohavestarredinLGBTQ-themedmoviesorarefamousfortheirtransgender/transsexualappear-ances,suchasMarioMaurerandWitwisitHiranyawongkulfeaturedintheteenagegayromanceLoveofSiam(Chookiatsakveerakul,2007,Thailand),SucharatManayingandSuppanadJittaleelafeaturedintheteenagelesbianromanceYesorNo(Sarasawadeewongsompetch,2010,Thailand),andthebutchlesbiansingerandactressZeeMattanaweeKeenan,havebeeninvitedtoperforminvariousTVshowsandfilmfestivalsinmainlandChina,HongKong,andTaiwan.
Inadditiontothisincreasingly"queered"mediamilieu,Chinese-speakingqueerfancultureshavealsobeenprofoundlyshapedanddiversifiedbythedevelopmentsoftheInternetanddigitalcultures.
BothHongKongandTaiwanwereconnectedtotheInternetin1991,whilemainlandChinabecameacountrywithInternetaccessin1994.
32TheInternetinTaiwanandinmainlandChinawasxviiiJingJamieZhao,LingYang,andMaudLavininitiallyusedonlyforacademicpurposes.
Asaresult,collegestudentsinthesetworegionsbecametheprivilegedfewwhocouldexploreonline.
Intheearly1990s,somestudentfanstookthisopportunitytolaunchamangaandanimesectiononuniversitybulletinboards.
NationalTsingHuaUniversity,NationalChiaoTungUniversity,NationalSunYat-senUniversity,andNationalTaiwanUniversitywereamongthefirsttosetupuniversitybulletinboards,andtheirmangaandanimesectionsusedtoattractagreatmanyusers.
33Since1996,mangaandanimesectionsalsobegantoappearonthebulletinboardsofprestig-iousmainlandChineseuniversities.
TheUniversityofScienceandTechnologyofChinawasthefirsttosetupa"cartoon"sectiononitsbulletinboard,followedbyTsinghuaUniversityinBeijing,ShanghaiJiaoTongUniversity,andSunYat-senUniversityinGuangzhou.
In1998,animeandmangafanclubsbegantoturnupatPekingUniversity,TsinghuaUniversity,andRenminUniversity.
34Withthispreliminaryestablishmentofonlineandofflinefannetworks,Chinese-speakingqueerfandomssoonenteredintoastageofrapidgrowth.
Aroundtheearly2000s,manyChinese-speakingnetizensstartedgainingeasyaccesstounreleasedandcensoredWestern,especiallyAmerican,queer-themedmedia,translatedandredistributedviapeer-to-peer(P2P)networksbyChinesefantranslation(fansubbing)groups.
Sincethen,Chinesefans'queerreadingofWesterncelebritiesandpopularculturehasbeenenjoyingagrowingdiversityandcomplexity.
High-profileWesternmediafranchiseslikeHarryPotter,SherlockHolmes,andTheAvengersserieshaveallspurredagreatamountofChinese-speakingfanproductivity.
35Thetropes,jargon,andconventionsofWesternslashfandomhavealsobeenimportedviatheInternetandbeguntomergewiththoseoftheJapan-originatedBLfandomintheChinese-speakingcyberspace.
AsMarkDuffetthasobserved,thespreadofaffordablebroadbandservicesoffersfans"increasedaccesstoinformation,agreaterspeedofsocialinteraction,andanewmeansofpublicperformance.
"36Theaccesstoinformationispar-ticularlyimportanttoqueerfancultures,astheirfanobjectsareoftendeemedinappropriateoroffensivebymainstreamsociety.
InthecaseofMainlandBLfandom,beforetheadventoftheInternet,fansgenerallyhadverylimitedaccesstoBLcontent.
TheyhadtotakegreattroubletogotoparticulartradingplacestopurchasepiratedprintBLmangaorBLanimeCDs.
SincethepassionforBLwasnotahobbytheycoulddiscussopenlyinschoolorathome,itwasdif-ficultforfanstomeetandtalkwithlike-mindedfellowfans.
37Toenrichtheirknowledgeabouthomosexuality,forinstance,someheterosexualfemaleBLfanswouldbefriendgaymaleclassmatesandafewdaringoneswouldevenvisitgaybars,butmostcouldonlyresorttogaywebsitesandgayporncirculatedontheInternet.
Inadditiontoprovidingananonymousandsecureplaceforfanstosearchfortheinformationtheyneed,theInternetalsoenablesfanstounleashtheircreativityandtobuildglobalfancommunities.
Asamatteroffact,somequeerfanculturesinmainlandChina,HongKong,andTaiwanhavealreadycarvedoutaninterconnectedandinterdependentcyber,Chinese-speakingIntroductionxixfannishworldthroughcommonwrittenlanguages,asharedsetoffanlingo,and,mostimportantly,acollectivepassionfortheirfanobjects.
Moreover,therearesignsshowingthatthisqueerfanworldisexpandingtoembraceorintersectwithothernon-Chinese-speakinglocationsintheConfucianculturalsphere,suchasVietnamandSouthKorea.
ThepopularityoftranslatedmainlandChineseBLnovelsinVietnamhaspromptedtheVietnamesegovern-menttoissueastringoforderstobanpublicationsthatcontainhomosexualcontent.
38ThehitChinesehistoricalTVdramaNirvanainFire(LangyaBang,BeijingTV/DragonTV,2015),basedonanonlinemainlandBLnovel,hasalsoattractedmanyKoreanBLfansafteritwasbroadcastinSouthKorea.
SomeofthemeventraveledtoShanghaitosharetheirfanworkswithChinesefansataNirvanafanconventioninApril2016.
39ChineseFanStudieswithinQueerSinophoneContextsTheEnglishterm"queer"hasbeenreinventedindiverseSinophonicLGBTQminoritariandiscoursestorefertotongzhi(gay),guaitai(weirdo),orku'er(coolyouth).
40Inturn,theEnglishword"Chinese"hasoftenbeenusedgloballytodenotezhongguoren(peoplewithPRCnationality)ormonolithicallyhuaren(ethnicChinese).
41Incontrast,wereappropriateandrepositionbothtermstorefertocreative,significant,andintensediversificationwithinregionallybasedfannishcontexts.
WedosotoemphasizecontemporaryChinese-speakingqueerfancultures'"multiple,contradictory,andfragmented"characteristics.
42Inherentinthisemphasisisanuncovering,too,oflocalizedlinguisticinnovations(seechapters2and9,forexample).
DirectlyandindirectlyQFCbuildsontheproductivegroundofSinophonestudies,thegrowinginterdisciplinaryacademicfieldthattakespainstoexamine,asShu-meiShihhasarticulated,"Sinitic-languageculturesonthemarginsofgeopoliticalnation-statesandtheirhegemonicproductions"43bymeansof"fore-groundingthevalueofdifficulty,difference,andheterogeneity.
"44Inparticular,HowardChianghasarguedthatanon-hegemonicsubversivedefinitionof"Chineseness"shouldpaycloserattentiontotheculturaldifferencesbetweenSinitic-languagecommunitiesonthemarginsofChina(Taiwan,HongKong,etc.
)andthosewithinthePeople'sRepublicofChina(PRC),ratherthanflatteningouttheseuniqueculturalidentificationswiththebiasofChina-centrism.
45ThewaysperformingChinesenessfueledbyqueersubjectivitiesarestrategizedenableustodecenteraunivocalChineseidentity,tradition,andculture,andthuscontributetoanunderstandingoftheplurality,heterogeneity,multilinguis-tics,transregionality,andcontextualspecificityofSinitic-languageculturesandpracticesbothwithinandoutsidecontinentalChina.
ThesecontinuingdebatesoverthemeaningsofChinaandChinesenessareimmenselyconstructiveforouranalysisofmarginalized(orevenstigmatized)cultures,practices,andgroupsxxJingJamieZhao,LingYang,andMaudLavinproducedwithin,outside,andacrossregionalbordersofmainlandChina,HongKong,andTaiwan.
Theycompelustoexaminemorecloselythedifferentpoliti-cal,legal,andculturalcontextsthathaveprofoundlyintersectedwith(ifoftenindirectly)thescale,activeness,andtextureofChinesequeercommunitiesandtheirrelatedactivitiesandgatherings.
InmainlandChina,homosexuality,whichhadbeendefinedasakindofhooliganism(liumangzui)since1957,wasdecriminalizedin1997andlaterdepathologizedintheofficialdefinitionofmentaldiseasesin2001.
46ThemostinfluentialMainland-basedgaywebsite,Danlan,wasfoundedinlate2000.
47In2005,thefirstmainlandChinesequeerwomenmagazine,Les+,wasalsostartedinBeijing.
48Manygay-andlesbian-orientedpublicspacesandorgani-zationshavealsodevelopedinafewmajorMainlandcities.
49Yettheculturalinfluencesofthesequeermediaandcommunicativespaceshavestillbeensmallinscale.
Inthemeantime,thesocialandpoliticalatmosphereformainlandLGBTQ-relatedactivitiesandgroupshasremainedturbulentandprecarious.
AlthoughtheannualqueerculturalandfilmfestivalsandgayparadesinBeijingandShanghaiwerelaunchedasearlyas2004,thepolicehaveoftencalledofftheeventsforunknownreasons.
50Meanwhile,somenegativeprejudicestowardgaysandlesbiansendure,asdothediversehierarchiesthatstigmatizeandmar-ginalizebisexualandtranssexualpeoplewithinbothmainlandheteronormativeandLGBTQcommunities.
Onthecontrary,HongKongandTaiwanseemtohavemorequeer-friendlyambiences.
HongKonglegalizedhomosexualityin1991—sixyearsbeforetheMainlanddidso.
51TheHongKongLesbianandGayFilmFestivalhasbeenheldannuallysince1989,whiletheprideparadeandqueer-relatedsocialmovementsinHongKonghavealsoreceivedmassivesupportaswellascertainlevelsofcontroversywithinitsownqueercommunitiessince2000s.
52YetvariousreligiousandsocialgroupshaveconsistentlyobjectedtotheHongKonggovernment'spromotingacceptanceofhomosexualityinthe2000s.
53Taiwanhasoftenbeenassumedtobealiberalanddemocraticstateintermsofgenderandsexualequalitybecauseofitsmultipartypoliticalsystemandpost–martiallawstage(post-1987).
54TheannualgayparadeinTaipeistartedin2003.
In2014,itattractedmorethan65,000participantsandthusbecamethelargestsocialactivityforgayrightsandequalityinAsia.
55Yetithasalsobeenfoundthatthesex-negativetraditionsandotherconservativesocialandpoliticalforcesinTaiwanhavebeenpersistentinsupporting"virtuouscustom"(shanliangfengsu)throughnegatinghomosexualityandalsoprostitution.
56Arecentstarkexampleofthisconservatismwouldbethat,in2013,oneTaiwanesefemaleBLfanwriterwasarrestedatcomicfaneventforproducingsexuallyexplicitcontent.
57Moreover,thedifferentlegislationconcerningpornographicorobscenearticlesinmainlandChinaandHongKonghaveforcedthesexuallytransgres-sivequeerfandomsinthosetwolocalestomobilizeremarkablydifferentsurvivalstrategiesandcountertactics.
58Sometimesthelegalcosthasbeendangerouslyhigh.
Significantly,in2011,thirty-twoyoungfemaleBLwriterswerearrestedIntroductionxxibythepoliceinZhengzhou,China,onthechargeofdisseminatingobscenearticles.
59Additionally,fanattitudestowardtransnationalqueerculturalflowsarealsovaried.
ResidinginthecountrythatisthemostfriendlytoJapanesecultureinAsia,TaiwaneseBLfanscouldaccessauthorizedChinesetranslationsofJapaneseBLmangaandopenlyprofesstheirJapanophiliawithoutfearofbeingcensured.
InmainlandChina,however,JapaneseBLmangaandnovelscancirculateonlythroughpiracyandwithfan-madesubtitles(fansubs),notonlybecausetheycontainsexuallyexplicitcontentbutalsobecausetheyareJapanese.
SinceSino-Japanesetiesdeterioratedinthemid-1990s,thePRCgovernmenthassystematicallyrestrictedthepublicationandbroadcastofJapanesemangaandanime.
ChinesefansofJapanesepopularculturemayalsobecriticizedforbeingunpatrioticbytheirpeers.
KeyThemesandChapterDescriptionsQFCbeginswithasectionofsixchaptersonqueerfanculturesinmainlandChina.
Inquitedifferentways,eachchapterdealsdirectlyorindirectlywiththeissueofgovernmentcensorshipanditsimpactonthedevelopmentofqueerfancultures.
Notably,inchapter1,LingYangandYanruiXuexaminethevarioustacticsinventedbyChinesedanmei(BL)fanstoevadecensorshipofsexuallytransgressivecontentandthebuildingofavastbutvulnerableundergroundBLdistributionnetwork.
BorrowingHongKong–basedanthropologistGordonMathews'sconceptof"low-endglobalization,"60theydescribeChinesedanmeifandomas"aformoflow-endglobalizationthatinvolvesnumeroussemilegalorillegaltransactionsofinformation,works,goods,andmoneyacrosstheTaiwanStraitandinEastAsia.
"Moreover,duetotheintertwined,competingcultural,political,andeconomicfactorsinthemainlandTVindustry,some"queer-ish"TVcontenthasbeenproducedbothdespiteandbecauseofthestricturesofthiscomplexyetparadoxicalcensorshipsystem.
Bothchapter5byShuyanZhouandchapter6byEgretLuluZhoudiscussstateregulationsconcerningTVpro-ductionandrevealpossibleembeddingofqueernuancesinTVcontent—andshowhowqueerconnotationsviewedthroughthislenscouldbeconsidered,whetherconsciouslyornot,asidewaysstrategicstepinthedirectionofgenderandsexualitydiversificationwhilealsoavoidingdirectconfrontationwithclearsignsofhomosexualandtransgenderidentitiesineverydaylife.
Theserepre-sentationsreceivelayeredmanipulationsonlinethatjuxtaposedtooneanothercanbeseenasdancingclosertoorawayfromofficiallyapprovedgenderandsexualitynorms.
Tosaythatthesechaptersandthefanpracticestheyanalyzerepresentanalternativetoapolarizedresistance/capitulationmodeloffandomswouldbeanunderstatement.
NorareofficialcensorshippracticesclearandfixedintimeinthePRC;thus,delvingintospecificmomentsoffan-officialcultureinterfacesusefullyrevealsthecomplexfanmeshofreinscribingandreinterpretingofficialxxiiJingJamieZhao,LingYang,andMaudLavinactsandtheirpotentials.
Hence,inchapter2,Shih-chenChaomentionsthegovernment'sinterventioninapopularrealitytelevisionshowthatfeaturedatransgendercontestant;shethenanalyzeshowcross-gendercosplaycanbereadasimplicitlyembracingyetexplicitlydistancingitselffromsuchmoments.
Besidesextensivecensorshipofqueercontent,thePRCgovernmenthasalsoestablishedelaboraterestrictionsofforeignmediaandculturalcontent,espe-ciallyJapanesemangaandanimeandWesterntelevisionshows.
Chapter3byLingYangandchapter4byJingJamieZhaoengagewiththisaspectofcensorshipastheyeachexplorehowChinesefansmanagetoaccessandreinterpretJapaneseandAmericanmediaproductsthroughunlicensedfansubsincyberspace.
ThemainlandChinasectionisarrangedinanorderthatreflectsthevariousstrandsofnational,transnational,andtransregionalculturaltrafficthathaveinspiredandshapedtheformationoflocalfandoms.
Thefirstthreechaptersinvestigatethedisseminationandlocalizationofqueerfandoms,practices,andworksoriginatinginJapan.
Inchapter1,"ChineseDanmeiFandomandCulturalGlobalizationfromBelow,"theauthorsmapoutabroadpictureofthedevelop-mentofChineseBLfandominthepasttwodecades.
TohighlightthelocalizationoftheJapaneseBLgenre,theyemployBL'sChinesenamedanmeithroughoutthechapter,eventhoughthetermBLisalsowidelyusedamongChinesefansaswell.
TheirchapterfocusesonthreekeyaspectsofChinesedanmeifandom:grassrootsdistributionnetworks,majorfan"circles"orcommunities,andtheriseofawomen-dominatedonlinepublicsphere.
WhilecapturingtheongoingconvergenceoftheJapaneseBLtraditionandWesternslashcultureinChinesedanmeifandomandclaimingthatdanmeihasbeenturnedinto"avibrantglobalculturalcommons,"theyalsopointoutthatthiscommonsisriddledwithtensionsandconflicts,especiallywhenitisinvolvedinreal-worldpolitics.
CosplayinmainlandChina,too,canbeusedasastartingpointtoastutelyanalyzegenderedandqueereddimensionsofChinesefancultures.
Openingtolarge,masscultureissuesoftrans-Asianculturaltranslationalonglinesofgendersandsexualities,chapter2,"Cosplay,Cuteness,andWeiniang—TheQueeredKe'aiofMaleCosplayersas'FakeGirls',"specificallyexploresthelocalizedworkandreceptionoftheChina-basedAliceCosGroup.
Theauthorasks,"Inwhatwaycan'cute'bepreciselycontextualizedinEastAsiancultures"SheinvestigatestheboundariesthattheAliceperformerspushandpullastheyperformanintricate,ultracute,nonparodicmimesisoffeminineJapanesemangacharactersandKoreangirlpopstars,evenwhileduckingidentificationswithtransgenderpersonaeandsame-sexpractices.
Queereddisjunctureswithgenderanddisconcertingreinscriptionswithmainstreamsexualidentificationsarestagedhandinhand,undertheveilofake'ai(cute)virtuosity.
Chapter3,"'TheWorldofGrandUnion':EngenderingTrans/nationalismviaBoys'LoveinChineseOnlineHetaliaFandom,"examinestheonlineChinesefandomformedaroundaJapanesemanga/animeseriesAxisPowersHetalia,alightheartedparodyofworldhistorybasedonnationanthropomorphism.
IntroductionxxiiiOriginallypublishedasawebcomicin2006,theserieshasenjoyedworldwidepopularityandaconsiderableamountofcontroversyinSouthKoreaandChinaforitsallegednationalstereotypingandwhitewashingofJapan'saggressioninWorldWarII.
AlthoughChinaisonlyaminorcharacterintheseries,itsvisualrepresentationisneverthelessintriguingenoughforChinesefanstochurnoutawholeslewoffanworks.
Throughacriticalanalysisofdiversefandiscoursesandtwocanonicalfantexts,thischapterinquiriesabouttheintersectionsbetweengenderpoliticsandgeopolitics,nationalismandtransnationalism,andlocalizationandglobalizationintheChineseHetaliafanworld.
ApartfromJapaneseACGculture,certainChinesequeerfandomshavealsovigorouslyengagedwithWesternqueercultureor,moreaccurately,imaginariesaboutit.
Chapter4,"QueeringthePost-LWordShaneinthe'GardenofEden':ChineseFans'GossipaboutKatherineMoennig,"presentsacriticalanalysisofChinesefans'queergossipdiscoursesurroundingtheAmericanactressKatherineMoennig,mostfamousstillforherbreakthroughroleasabutchlesbiancharacterinthetelevisionseriesTheLWord(Showtime,2004–2009).
ThroughadeconstructivereadingofthegossipthatimaginesMoennig'sreal-lifelesbiangenderidentitiesandhomoeroticrelationshipsinoneofthelargestcross-culturalfandomsinChinesecyberspace,TheGardenofEden(Yidianyuan),theauthorrevealsthat,ratherthansimplyassimilatingorrejectingthenormativeunderstandingsoftheWestasacivilized,queer-friendlyhavenandChinaasabackward,heterocentricnation,thefans'intricatefantasiesabouttheWesternqueerworldreflecttheirsubjective,hybridizedreappropriationandreinscrip-tionoftheChinesequeerOccidentalistimaginations.
Ultimately,shearguesthatthequeerOccidentalismexemplifiedinthiscross-culturalgossipfunctionsasasurvivalstrategyforqueerfanstointerrogatethedepressing,heteropatriarchalrealitiesincontemporarymainstreamChinesesociety.
TheChinese-speakingworldisofcourserichinitsownfanreferenceobjectsandincrediblylayered,contradictory,engrossingreadingsoftheminonlinefandoms.
Chapter5,"FromOnlineBLFandomtotheCCTVSpringFestivalGala:TheTransformingPowerofOnlineCarnival,"recountsthe"LookingforLeehom"saga,thatis,thepublicityjourneysofandcelebritygossipabouttrans-AsianpopsingerWangLeehomandclassicalpianistLiYundi:first,asfansplayfullyandromanticallypairedthetwomeninonlinenarrativesafterwatchingtheir2012CCTVduoperformance;second,asthetwoappearedtoappropriatethisBLframingfortheirowncommercialbenefit;third,ashumorabouttheirshipping(fannishpairingofmediacharactersorcelebrities)61evenappearedontheusuallyheavilycontrolledCCTVSpringFestivalGala;fourth,intothedenialofhomosexualitybyWang,earninghimthederisivemonikeronlineofthe"No.
1StraightGuyintheUniverse";andlast,toofficialandofflinemassmediauncomfortableattemptstoaddressthesituation.
Throughout,theauthorShuyanZhouexploresthefraughtfanspacesandcritiquesthetendencyofsomedigital-culturescholarstooversimplifysuchspacesasonesofcarnival,xxivJingJamieZhao,LingYang,andMaudLavindevelopinginsteadamorenuancedapproachthatincludesaconsiderationofcarnival'sconceptuallimits.
Chapter6,"DongfangBubai,OnlineFandom,andGenderPoliticsofaLegendaryQueerIconinPost-MaoChina,"deftlyanalyzesthereadings,reread-ings,andgenderedtranslationsofthepopulartransgendercharacterDongfangBubai(DFBB)ashe/shehasbeeninterpretedbyfansafterthequitedifferentincarnationsinthemodernChinesewriterJinYong'soriginalChinesenovelTheSmiling,ProudWanderer;HongKongdirectorTsuiHark'sfilmSwordsmanII,whereDFBBwasplayedbytheTaiwaneseactressBrigitteLin;andthemainlandChinesetelevisionproducer-scriptwriterYuZheng'sSwordsman,whereDFBBisplayedasa"truewoman"bytheTaiwaneseactressJoeChen.
TheauthorEgretLuluZhoupaysparticularattentiontofans'framingandreframingofDFBBandhis/herloves,triumphs,defeats,andevenself-mutilationsvariouslyasgayromance,heterosexualromance,orlesbianromance,butallthroughaqueerlens.
Shealsoarguesthatfans'lesbianreadingcouldcoexistwithhomophobiaandillustratesthenotablyawkwardentanglementsofqueer-andnonqueersenti-mentsinthisDFBBfandom.
TheChinasectionisfollowedbytwochaptersfocusingonHongKong–basedfandoms.
Chapter7,"DesiringQueer,NegotiatingNormal:DeniseHo(HOCC)FandombeforeandaftertheComing-Out,"analyzesthe2012coming-outofHongKonglesbianstarHOCCthathasparticularmeaningsforherHongKongfanswhohaveovertimerangedfromspeculatingwithtitillationabouthersame-sexromancestomaskinganysuggestionofthesewithheterosexualfictionorgossipabouther.
Throughin-depthinterviewsandintricateculturalcontex-tualization,EvaCheukYinLifindsthatbeforeHOCCcameouttheambivalenceofhersexuality"wasanimportantpartofherstardomthatallowedfans'playfulspeculation,evidencedbythevibrantqueerfanculture.
"Yet,attimes,HOCCfansremainself-disciplinedbyoftenculturallynegotiatingwith"normal"idealsoffemalegenderandsexualityduringtheirqueerreadings.
AfterHOCC'spubliccoming-out,asLirevealspersuasively,"thetensionbetweenqueerandnormalhasshiftedfromtheheteronormativenegotiationofa'proper'femalegenderandaccordedsexualitytothenegotiationofa'proper'lesbianembodi-ment"withinherfandom.
Chapter8,"HongKong–BasedFansofMainlandIdolLiYuchun:ElectiveBelonging,GenderAmbiguity,andRootedCosmopolitanism,"alsoexploresfanresponsestoanandrogynousfemalestarofseeminglyambivalentsexuality—heremainlandChinesepopmusicphenomenonLiYuchun—butfromadifferentangle,focusingonhowMainland-bornfansnowresidinginHongKongnegoti-ateasenseofdualbelongingwiththeiraffectivefanarticulationsandactivities.
MaudLavinraisesquestionsabouthowLi'sperceivedcosmopolitanismandsexualityareusedbyarangeofHongKong–basedfansandfollowers.
BothHongKongchaptersarerootedinitsspecificgeoculturalcontextsandformsomestrongcontrastsandconnectionstothemainlandChinachapters.
IntroductionxxvForinstance,duetotherelativelymoreroomforfreedomofspeechandsocialactivisminHongKong,awell-knownentertainmentcelebritylikeHOCCisabletoperformahigh-profilepubliccoming-out,whereasWangLeehomandLiYundihadtoforcefullydenyanysame-sexinterestwithinthemainlandmediaculturalcontextwhenrumorsabouttheirhomosexualrelationshipthreatenedtogetoutofcontrolinChinesecyberspace.
Similarly,ontheonehand,theambiva-lentfanresponsetomainlandgender-bendingpopstarLiYuchunreflectstheincreasinglystrainedrelationshipbetweentheMainlandandHongKong,mostnotablyintheUmbrellaMovement;and,ontheother,thedeepidentificationsofmainlandfansofLiYuchunlivinginHongKongspeaktoastrategicuseoftheidol'sandrogynousgenderinganditscosmopolitanconnotationstonegotiateeveryday,affectivelifeinHongKong.
Differencesaside,theHongKongchaptersandmainlandChinachaptersalsosharesomecommonthemes.
Chapter8'sconcernof"theuseofmassculturalconsumptiontonegotiatebordercrossingandelectivebelonginginwaysthatareprimarilyseparatefromidentificationwithlocalornationalgov-ernments"isechoedbythediscussioninchapter3ofhowChineseHetaliafansusethisJapanesemangaseriestonegotiatethetensionbetweenanimperial-istic,backward-lookingnationalismandamoreforward-lookingcosmopolit-ism.
Moreover,thetwoHongKongchapters,aswellasthemainlandChinachapters2,4,and6,alldelveintothecomplexitiesofqueerreadingsandper-formativities,andthemultifacetednegotiationsaboutgendersandsexualities,andbetweenqueernessandnormativity,infancommunities.
Thecross-culturalandgender/sexualitythemescontinueasthebook'sfocusmovestoTaiwanwithtwocloselyrelatedchaptersonTaiwaneseBLfandomanditsengagementwithJapanandJapaneseness.
Inchapter10,"GirlsWhoLoveBoys'Love:BLasGoodstoThinkwithinTaiwan(withaRevisedandUpdatedCoda),"FranMartinrevisitshersubstantive2005studyoftheBLsceneinTaiwan.
ShetracesthehistoryofTaiwanesefans'involvementwithJapaneseBLmangaandasksinessencewhatBLdoesforTaiwanesefans.
Utilizingtheideaof"worlding,"MartinarguesthatTaiwanesefanshavecreatedtwoworldswithBLtexts:"animaginativegeographyofa'Japan'thatischaracterizedbysex-genderambiguity/fluidity/nonconformity,"and"asocialsubworld,"or"communityofreaders,fans,andcreatorsofBLnarratives"wherecomplexdebatesconcern-inggenderandsexualityhavebeencarriedout.
ThechapterconcludeswithabriefreconsiderationofthepotentialimpactsofInternetregulationandcensor-shipontheflourishingtransnationalworldsofBLfandom.
Inchapter9,"ExploringtheSignificanceof'Japaneseness':ACaseStudyofFujoshi'sBLFantasiesinTaiwan,"WeijungChangexploresthecultureofTaiwanesefujoshi(femaleBLfans)tosituatetheiraffectiveinvestmentinJapanandJapanesenessintheuniqueJapanophiliccontextofpostcolonialTaiwan.
ThroughlookingbackatthehistoricalrelationshipbetweenTaiwanandJapanandthelingeringinfluenceofJapan'scoloniallegacyinTaiwan,theauthorxxviJingJamieZhao,LingYang,andMaudLavinpointsoutthatJapanisnotmerelyadistantfantasyworldtoTaiwanesefujoshibut"ahybridbasedonactualexperienceswithJapaneseresidentsinTaiwanandimaginaryconceptsofJapanproper.
"Thus,TaiwanesefujoshiareconstantlynegotiatingthecontradictoryimageofJapanassomethingbothfamiliarandforeign.
ShealsoexaminesthevariouswaysTaiwanesefujoshiintegrateelementsofJapanesenessintotheireverydaylifeandhowthoseelementsenhancetheirpleasuresinBLfantasy.
BothTaiwanchaptersspeakdirectlytothethreeBLchapters(1,3,and5)inthemainlandChinasection.
AsoneofthemostprominentformsofqueerfandomintheChinese-speakingworld,BLhasdrawndedicatedfollowersinallthreeregions,particularlyinTaiwanandmainlandChina.
YetTaiwaneseandmainlandBLfandomshaveatleasttworemarkabledifferences.
First,thecon-sumptionofJapaneseBLmangaandnovelscarriesaspecialweightinTaiwaneseBLfandomduetothegeneralreceptivenessofJapanesepopcultureinTaiwan.
Incontrast,mainlandBLfandomputsmoreemphasisontheproductionandconsumptionofPRC-originalBLworks.
Second,whilebothmainlandandTaiwaneseBLfanshaveusedBLasatransformativetoolindiscoursesongendersandsexualities,mainlandBLfanshavealsomobilizedBLtobuildapublicspacethatengagesinalternativepoliticalexpressions.
Furthermore,Taiwanesefujoshi'sJapanophiliaresonateswellwiththetacticaluseofOccidentalisminthepostcolonialbasedqueerfandomofWesterncelebritiesandmediadiscussedinchapter4.
Theself-conflictinglongings,pleasures,andhopesinvolvedintheimaginationofanidealizedotherremindusofthestrategized"utopiandimen-sion"offandomandpopularcultureingeneral.
62ConclusionQFC'sessaysanalyzelocalandtransculturalconsumptionandreinterpretationsofqueerculturalflowsdespiteandinnegotiationwithdifferentnationalcen-sorshippracticesandvariedgender,sexuality,andlocalcategory-trespassingidentificationsandbelongings.
And,inalargersense,bypresentingthesetenpiecesanalyzingqueerfandomcontribution,wehavehighlightedthemultiva-lence,plurality,andparadoxesofgenderandsexualidentitieswithinChinese-speaking,queer,fannishsocioculturalcontexts.
Inconclusion,wewouldliketosketchoutafewpromisingareasofChinese-speakingqueerfanculturesforfutureresearch.
First,ofcourse,istheparticipationofmalefansinBL,GL,ACG,cosplay,andcelebrityfandoms,suchasthegaymalefandomsurroundingmusicdivaFayeWonginHongKong,Taiwan,andSingapore.
63Howdomalefans,straightornonstraight,engageinqueerfantasies,narratives,andpracticesHowdotheysocializewithfemalefansinthesamefandomsHavequeerfandomsfosteredamoreegalitarianstyleofcommunicationbetweengendersandmorepositiveIntroductionxxviigroupdynamicsgiventhedeep-rootedmisogynycommoninChinese-speakingsocietiesHowdothereadingstrategiesofChinese-speakingqueermalefansresembleordifferfromheterosexualmalereadersofBL,orfudanshi(rottenmen),inJapan64Second,thecomplexityofgenderandsexualidentitiesofChinese-speakingBLfanshasbeenanissuethathasarousedconsiderableinterestamongresearch-ers.
65Yet,insteadoffocusingonquestionssuchaswhyheterosexualwomenareinterestedinmalehomosexuality,asifsexualidentitywassomehowfixedandunchangeable,itisprobablymorefruitful,likeFranMartin'schapterinthisvolume,toexplorehowfansnavigateinthestrangenewworldopenedupbyqueerfandoms;howtheyplayandnegotiatewithvariousnonnormativedesires,identifications,andbelongings;howtheyimagine,defend,andredrawtheirsubjectivegenderandsexualboundaries.
Third,lesbianBLresearcherAkikoMizoguchihasspokenabouta"yaoi(anothertermdenotingBLinJapan)sexualorientation,"pointingoutthatfemaleyaoifans"considerthemselvesasortofsexualminority.
"66Similarly,JapanesepsychiatristTamakiSaitohasusedtheterm"otakusexuality"todescribemaleotaku'sattachmenttofictionalfemalecharacters,whichissatisfy-ingenoughtoreplaceemotionalandsexualrelationshipswithrealpersons.
67HowcanwetheorizethismultiplicationofsexualityimaginativelygeneratedinconjunctionwithpopularculturalpracticesinEastAsiaIsitpossibletoaddfujoshiandotakutothenow-conventionallistofLGBTQtorefertonewformsofqueersexualitythatchallengeourtraditionalnotionsofsexuality,mediacon-sumption,aswellasthedichotomybetweenfantasyandrealityFourth,thequeertransculturalflowsexaminedinQFClargelyoriginatefromJapanandtheUnitedStates,twoinfluentialcentersofglobalpopularculture.
Yet,asincreasinglymorenon-WesternqueercelebritiesandmediaproductshavegainedfollowersintheChinese-speakingworldthroughtheInternetandsocialmedia,asmoremultilingualandmultinationaldigitalplatformsforfanproductionandnetworkinghavebeenestablished,itisnecessaryforresearch-erstotraceinteractionsofChinese-speakingfanswithqueerfansandfanobjectsfromSouthKorea,SoutheastAsia,andothernon-WesterngeographicallocationstofurtherdismantletheEast/WestandChinese/non-Chinesedichoto-miesandrelatedhierarchiessustainedbyEuro-AmericanandChinacentrismsasregardsculturalrepresentationsofgendersandsexualities.
Inshort,wewouldliketouseQFCtoinviteandencouragefurtherresearchtoexploreanyqueeringoforqueeredfrustrations,promises,pleasures,confron-tations,andentanglementsthatresultfromanddeconstructallkindsofbina-rismsandnormativeidealsaboutidentitiesandsubjectivitieswithinfannishparticipatoryspacesandaffectivecommunitiesintheChinese-speakingworldandelsewhere.
xxviiiJingJamieZhao,LingYang,andMaudLavinNotes1.
"Taizifeishengzhijixiaxianle!
"[GoPrincessGo!
Takenoffline!
],Shandongshangbao[ShandongBusinessDaily],January21,2016,accessedApril21,2016,http://news.
163.
com/16/0121/14/BDS1BL3R00014Q4P.
html.
2.
VeraMackieandMarkMcLelland,"Introduction:FramingSexualityStudiesinEastAsia,"inRoutledgeHandbookofSexualityStudiesinEastAsia,ed.
MarkMcLellandandVeraMackie(NewYork:Routledge,2014),1–17.
3.
MaudLavinandXiaoruiZhu,"Alexter:Boys'LoveMeetsHongKongActivism,"fnewsmagazine,November17,2014,accessedJuly20,2015,http://fnewsmagazine.
com/2014/11/alexter-boys-love-meets-hong-kong-activism/.
4.
"Alexter,"UmbrellaTerms,accessedJuly21,2015,http://www.
umbrellaterms.
hk/main/blog/keyword-alexter.
5.
Cosplayisafansubcultureduringwhichfan-performerswearcostumestoimperson-atemediacharactersorcelebrities.
Foradetaileddefinition,seeNicolleLamerichs,"StrangerThanFiction:FanIdentityinCosplay,"TransformativeWorksandCultures7(2011),accessedApril1,2016,http://journal.
transformativeworks.
org/index.
php/twc/article/view/246/230.
6.
Animereferstoanimatedmedia.
7.
AndrewParker,"Foucault'sTongues,"Mediations18.
2(1994):80.
8.
Formoredetails,seeAndreaS.
Goldman,OperaandtheCity:ThePoliticsofCultureinBeijing,1770–1900(Stanford,CA:StanfordUniversityPress,2012);andWuCuncun,HomoeroticSensibilitiesinLateImperialChina(NewYork:RoutledgeCurzon,2004).
9.
Significantly,thereisasubstantiallandmarkscholarshiponhomoeroticism-relatedissuesinMainlandChina,suchasBretHinsch,PassionsoftheCutSleeve:TheMaleHomosexualTraditioninChina(LosAngeles:UniversityofCaliforniaPress,1990);LorettaWingWahHo,GayandLesbianSubcultureinUrbanChina(NewYork:Routledge,2010);andLucettaYipLoKam,ShanghaiLalas:FemaleTongzhiCommunitiesandPoliticsinUrbanChina(HongKong:HongKongUniversityPress,2012);WenqingKang,Obsession:MaleSame-SexRelationsinChina,1900–1950(HongKong:HongKongUniversityPress,2009);Tze-LanD.
Sang,TheEmergingLesbian:FemaleSame-SexDesireinModernChina(Chicago:UniversityofChicagoPress,2003).
However,thisseriesofwritingstendsnottofocusonfanstudiesorin-depthondigitalcultureandqueernessingeneral.
OurvolumebuildsonthisexistingliteratureinwaysthatbothunveilthevarietyandcomplexityofqueerdimensionsoffannishpracticeswithincontemporarymainlandChinesepopularculturalambienceanddivulgethehistoric-ity,futurity,andtransformativityofmainlandChinesequeer-relatedmediaculturesinaglobalizedworld.
ForHongKongandTaiwan,therehasbeenabroaderscholarlyandjournalisticdiscourseonlocalizedhomosexual-themedcultures;andtheculturesthemselvesenjoymorevisibilitythandotheirequivalentsinmainlandChina.
InfluentialtextsincludeHansTao-MingHuang,QueerPoliticsandSexualModernityinTaiwan(HongKong:HongKongUniversityPress,2011);HelenHok-SzeLeung,Undercurrents:QueerCultureandPostcolonialHongKong(Vancouver:UniversityofBritishColumbiaPress,2008);SongHweeLim,CelluloidComrades:RepresentationsofMaleHomosexualityinContemporaryChineseCinemas(Honolulu:Hawai'iUniversityPress,2006);FranMartin,SituatingSexualities:QueerRepresentationinTaiwaneseFiction,FilmandPublicCulture(HongKong:HongKongUniversityPress,2003);andDeniseTse-ShangTang,ConditionalSpaces:HongKongLesbianDesiresandEverydayLife(HongKong:HongKongUniversityPress,2011).
SomeofthisbodyofliteratureIntroductionxxixhasexplicatedthemultiplicationofHongKongandTaiwanesequeerpolitics,move-ments,andvisualandliteraryartsalongwiththeincreasingpopularityofInternetuseanddigitalmediainthesetworegions.
ThecontributionstoourvolumefurtherthispreviousscholarshipbyfocusingspecificallyonHongKongandTaiwanesequeerfanculturesandactivities.
10.
Forexample,seeHowardChiang,ed.
,TransgenderChina(NewYork:PalgraveMacmillan,2012);HowardChiang,"(De)ProvincializingChina:QueerHistoricismandSinophonePostcolonialCritique,"inQueerSinophoneCultures,ed.
HowardChiangandAriLarissaHeinrich(NewYork:Routledge,2014),19–51;PetrusLiu,"WhyDoesQueerTheoryNeedChina"positions:EastAsiaCulturesCritique18.
2(2010):291–320;AudreyYue,"QueerAsianCinemaandMediaStudies:FromHybriditytoCriticalRegionality,"CinemaJournal53.
2(2014):145–51.
Foradetailedsummaryonthistopic,seeFranMartinetal.
,introductiontoAsiaPacifiQueer:RethinkingGendersandSexualities,ed.
FranMartinetal.
(Urbana:UniversityofIllinoisPress,2008),1–27;andFranMartin,"TransnationalQueerSinophoneCultures,"inRoutledgeHandbookofSexualityStudiesinEastAsia,ed.
MarkMcLellandandVeraMackie(NewYork:Routledge,2014),35–48.
11.
Martin,"Transnational,"45.
12.
MarkDuffett,"Celebrity:TheReturnoftheRepressedinFanStudies"inTheAshgateResearchCompaniontoFanCultures,ed.
LindaDuitsandKoosZwaan(Farnham,UK:Ashgate,2014),163–80.
13.
SeeCamilleBacon-Smith,EnterprisingWomen:TelevisionFandomandtheCreationofPopularMyth(Philadelphia:UniversityofPennsylvaniaPress,1992),228–81;HenryJenkins,TextualPoachers:TelevisionFansandParticipatoryCulture(NewYork:Routledge,1992),190–227;SaraGwenllianJones,"Histories,Fictions,andXena:WarriorPrincess,"Television&NewMedia1.
4(2000):415;JulieLevinRusso,"TextualOrientation:QueerFemaleFandomOnline,"inTheRoutledgeCompaniontoMedia&Gender,ed.
CynthiaCarter,LindaSteiner,andLisaMcLaughlin(NewYork:Routledge,2014),452.
14.
SomefoundationalworksareBacon-Smith,EnterprisingWomen;Jenkins,TextualPoachers;ConstancePenley,"Feminism,Psychoanalysis,andtheStudyofPopularCulture,"inCulturalStudies,ed.
LawrenceGrossberg,CaryNelson,andPaulaA.
Treichler(NewYork:Routledge,1992),479–500;JoannaRuss,ed.
,MagicMommas,TremblingSisters,Puritans&Perverts:FeministEssays(NewYork:CrossingPress,1985).
15.
SomemajorworksincludePatrickW.
Galbraith,TheOtakuEncyclopedia:AnInsider'sGuidetotheSubcultureofCoolJapan(NewYork:KodanshaInternational,2009);MizukoIto,DaisukeOkabe,andIzumiTsuji,eds.
,FandomUnbound:OtakuCultureinaConnectedWorld(NewHaven:YaleUniversityPress,2012);AntoniaLevi,MarkMcHarry,andDruPagliassotti,eds.
,Boys'LoveManga:EssaysontheSexualAmbiguityandCross-CulturalFandomoftheGenre(Jefferson,NC:McFarland,2010);MarkMcLellandetal.
,eds.
,BoysLove,Manga,andBeyond:History,Culture,andCommunityinJapan(Jackson:UniversityofMississippiPress,2015);TimothyPerperandMarthaCornog,eds.
,Mangatopia:EssaysonMangaandAnimeintheModernWorld(SantaBarbara,CA:LibrariesUnlimited,2011).
16.
See,forexample,JinFeng,RomancingtheInternet:ProducingandConsumingChineseWebRomance(Boston:Brill,2013);KatrienJacobs,TheAfterglowofWomen'sPornographyinPost-digitalChina(NewYork:PalgraveMacmillan,2015);FranMartinandLarissaHeinrich,eds.
,EmbodiedModernities:Corporeality,Representation,andChineseCultures(Honolulu:UniversityofHawai'iPress,2006);YanruiXuandLingYang,"ForbiddenxxxJingJamieZhao,LingYang,andMaudLavinLove:Incest,GenerationalConflict,andtheEroticsofPowerinChineseBLFiction,"JournalofGraphicNovelsandComics4.
1(2013):30–43;LingYangandHongweiBao,"QueerlyIntimate:Friends,FansandAffectiveCommunicationinaSuperGirlFanFictionCommunity,"CulturalStudies26.
6(2012):842–71.
17.
RhiannonBury,CyberspacesofTheirOwn:FemaleFandomsOnline(NewYork:PeterLang,2005).
18.
JackHalberstam,InaQueerTimeandPlace:TransgenderBodies,SubculturalLives(NewYork:NewYorkUniversityPress,2005),6.
19.
See,forexample,Bacon-Smith,EnterprisingWomen;Jenkins,TextualPoachers;andAndreaWood,"'Straight'Women,QueerTexts:Boy-LoveMangaandtheRiseofaGlobalCounterpublic,"Women'sStudiesQuarterly34.
1/2(2006):394–414.
20.
Foramoredetaileddiscussiononthispoint,seeKarenHelleksonandKristinaBusse,eds.
,FanFictionandFanCommunitiesintheAgeoftheInternet(Jefferson,NC:McFarland,2006).
21.
JudithButler,GenderTrouble:FeminismandtheSubversionofIdentity(NewYork:Routledge,1990).
22.
AnnamarieJagose,QueerTheory:AnIntroduction(NewYork:NewYorkUniversityPress,1996),3.
23.
Forrelateddiscussion,seeEvaCheuk-YinLi,"ApproachingTransnationalChineseQueerStardomasZhongxing('NeutralSex/Gender')Sensibility,"EastAsianJournalofPopularCulture1.
1(2015):75–95.
24.
QianWang,"Queerness,Entertainment,andPolitics:QueerPerformanceandPerformativityinChinesePop,"inQueer/TongzhiChina:NewPerspectivesonResearch,ActivismandMediaCultures,ed.
ElisabethL.
EngebretsenandWilliamF.
Schroeder(withHongweiBao)(Copenhagen:NIASPress,2015),155.
25.
AnthonyFung,"FayeandtheFandomofaChineseDiva,"PopularCommunication:InternationalJournalofMediaandCulture7.
4(2009):252–66.
26.
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com/view/3187.
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27.
AudreyYueandHaiqingYu,"China'sSuperGirl:MobileYouthCulturesandNewSexualities,"inYouth,MediaandCultureintheAsiaPacificRegion,ed.
UshaM.
RodriguesandBelindaSmaill(Newcastle:CambridgeScholarsPublishing,2008),118;LucettaYipLoKam,"DesiringT,DesiringSelf:'T-Style'PopSingersandLesbianCultureinChina,"JournalofLesbianStudies18.
3(2014):252–65.
28.
Formoredetails,seeChrisBerry,"EastPalace,WestPalace:StagingGayLifeinChina,"JumpCut:AReviewofContemporaryMedia42(1998):84–89;ChrisBerry,"WeddingBanquet:AFamily(Melodrama)Affair,"inChineseFilmsinFocus:24NewTakes,ed.
ChrisBerry(London:BritishFilmInstitute,2003),183–90;ChrisBerry,"TheSacred,theProfane,andtheDomesticinCuiZi'en'sCinema,"positions:EastAsiaCulturesCritique12.
1(2004):195–201;Lim,CelluloidComrades;Martin,SituatingSexualities;LiangShi,ChineseLesbianCinema:MirrorRubbing,Lala,andLes(Lanham:LexingtonBooks,2015);AlvinKaHinWong,"FromtheTransnationaltotheSinophone:LesbianRepresentationsinChinese-LanguageFilms,"JournalofLesbianStudies16.
3(2012):307–22;AudreyYue,"What'sSoQueeraboutHappyTogetherA.
k.
a.
Queer(N)Asian:Interface,Mobility,Belonging,"Inter-AsiaCulturalStudiesJournal1.
2(2000):251–64.
29.
Shi,ChineseLesbian,45.
30.
MayNimfaIdea,"LostinThailandFilmmakersBrainstormwithAudiencetoEnsureMovie'sSuccess,"yibada,June18,2015,accessedMarch10,2016,http://en.
yibada.
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htm.
31.
CliffordCoonan,"ChinaBoxOffice:'TinyTimes4.
0'LeadasLocalYouthFlicksDominate,"HollywoodReporter,July13,2015,accessedJuly15,2015,http://www.
hollywoodreporter.
com/news/china-box-office-tiny-times-808489.
32.
XindongFangetal.
,"Zhongguohulianwangershinian:Sancilangchaohesandachuangxin[2],"[TwentyyearsofChina'sinternet:Threewavesandthreeinnova-tions(2)],People,April21,2014,accessedJuly20,2015,http://media.
people.
com.
cn/n/2014/0421/c40606-24922639-2.
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33.
ShahuluTongmeng,Taiwanazhaiqishilu[Taiwanotakuapocalypse],lightnovel.
cn,September8,2010,accessedJuly20,2015,http://www.
lightnovel.
cn/thread-214503-1-1.
html.
34.
"ZhongguoACGquandefazhanlishishizenyangde,younaxiezhongyaowangzhan"[What'sthedevelopmenthistoryofChineseACGcircle,arethereanyimportantwebsites],Zhihu,accessedJuly20,2015,http://www.
zhihu.
com/question/22561605.
35.
"GayLoveTheoryasFansRelishSherlockinChina,"BBC,January2,2014,accessedJuly24,2015,http://www.
bbc.
com/news/blogs-china-blog-25550426;JohnWei,"QueerEncountersbetweenIronManandChineseBoys'LoveFandom,"TransformativeWorksandCultures17(2014),accessedJuly20,2015,http://journal.
transformativeworks.
org/index.
php/twc/article/view/561/458.
36.
MarkDuffett,UnderstandingFandom:AnIntroductiontotheStudyofMediaFanCulture(NewYork:BloomsburyAcademic,2013),236.
37.
YuxiYangandBoyinLiu,"Quanmeitishidaidemiwenhuayanjiu—yidanmeimiqunweili"[Fanculturalstudiesinanageofdigitalmedia—usingdanmeifandomasanexample],Xinwenaihaozhe[JournalismLover]3(2012):15–16.
38.
"Yuenanfengshawailaiyanqingdanmeixiaoshuo,zhongguowangluowenxuebizhongza"[Vietnambansforeignromanceanddanmeinovels,mostcomefromChineseinternetliterature],Jinghuashibao[BeijingTimes],May27,2015,accessedMay1,2016,http://culture.
ifeng.
com/a/20150527/43847161_0.
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39.
FornewscoverageofthepopularityoftheshowinSouthKorea,seeVittorioHernandez,"ChineseDrama'NirvanainFire'CatchesInterestofSouthKoreanTVViewers,"yibada,April13,2016,accessedMay8,2016,http://en.
yibada.
com/articles/116157/20160413/chinese-drama-nirvana-in-fire-catches-interest-of-south-korean-tv-viewers.
htm.
ForinformationoftheparticipationofKoreanfansattheShanghaifanconvention,seetheconvention'sofficialWeiboaccountathttp://weibo.
com/u/5763841308refer_flag=1001030201_&is_all=1.
40.
FordetaileddiscussionsonSinophonicappropriationsoftheEnglishtermqueer,seeHongweiBao,"'QueerComrades':TransnationalPopularCulture,QueerSociality,andSocialistLegacy,"EnglishLanguageNotes49.
1(2011):131–37;SongHweeLim,"HowtoBeQueerinTaiwan:Translation,Appropriation,andtheConstructionofaQueerIdentityinTaiwan,"inAsiaPacifiQueer:RethinkingGendersandSexualities,ed.
FranMartin,PeterA.
Jackson,MarkMcLelland,andAudreyYue(Urbana:UniversityofIllinoisPress,2008),235–50;andMartin,SituatingSexualities,32–33.
41.
ForadetaileddiscussionontheEnglishtermChinese,seeMartin,"Transnational,"35–48.
42.
Martin,"Transnational,"35.
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Shu-meiShih,"TheConceptoftheSinophone,"PMLA126.
3(2011):710.
xxxiiJingJamieZhao,LingYang,andMaudLavin44.
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LisaRofel,"GrassrootsActivism:Non-normativeSexualPoliticsinPost-socialistChina,"inUnequalChina:ThePoliticalEconomyandCulturalPoliticsofInequality,ed.
WanningSunandYingjieGuo(NewYork:Routledge,2013),154.
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Thewebsiteisavailableathttp://www.
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49.
SeeKam,ShanghaiLalas;ElisabethLundEngebretsen,QueerWomeninUrbanChina:AnEthnography(NewYork:Routledge,2014).
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"Tongxinglianjiezaojingjingfangtuxifengbi"[TheGayFestivalwascrackeddownonandclosedbytheBeijingpolice],HongKongCommercialDaily,December27,2005,accessedJuly20,2015,http://3g.
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MarkMcLellandandVeraMackie(NewYork:Routledge,2014),188–202.
53.
DayWong,"RethinkingtheComingHomeAlternative:HybridizationandComingOutPoliticsinHongKong'sAnti-HomophobiaParades,"Inter-AsiaCulturalStudies8.
4(2007):608.
54.
PetrusLiu,"QueerMarxisminTaiwan,"Inter-AsiaCulturalStudies8.
4(2007):517–39.
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DaaiDQ,"[Erciyuan]gongkaijihuwuma18/jintongrenzhiTaiwantongrenzuozhebeibu"[Two-dimensionpublicizingalmostuncensored18/forbiddenfanzinestaiwaneseauthorwasarrested],tgbus,August22,2013,accessedJuly20,2015,http://bbs.
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com/thread-5196325-1-1.
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SeeMeiNingYan,"RegulatingOnlinePornographyinMainlandChinaandHongKong,"inRoutledgeHandbookofSexualityStudiesinEastAsia,ed.
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(Jackson:UniversityPressofMississippi,2015),189–209.
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AkikoMizoguchi,"TheorizingComics/MangaGenreasaProductiveForum:YaoiandBeyond,"inComicsWorldsandtheWorldofComics:TowardsScholarshiponaGlobalScale,ed.
JaquelineBerndt(Kyoto:InternationalMangaResearchCentre,KyotoSeikaUniversity,2010),155–56,accessedApril21,2016,http://imrc.
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NewYork:Verso,2002.
WeijungCHANGisaPhDcandidateintheDivisionofInterdisciplinaryGenderStudiesatOchanomizuUniversity,Japan.
HerresearchinterestsincludeJapanesepopularculture,gender,andsexuality.
SheiscurrentlyworkingontheJapanophiliacontextinTaiwanandrelatedissuesofgenderandsexuality.
Shehaspresentedherworksinmultiplelanguages.
Theseinclude"AnalyzingtheConstructionofSexualityfrom'BLFantasy':ACaseStudyofTaiwaneseFujoshi'sFantasyPracticein'ButlerCafés,'"JournalofWomenandGenderStudies(2013,publishedinChinese),"AnalyzingtheRelationshipwith'Japaneseness'fromtheLifeStoryofaTaiwaneseJapanophileGirl,"JapanOralHistoryReview(2014,publishedinJapanese),and"Gendered/SexualizedTransformationofJapanophilia:TheSymbolizationandtheLocalizationof'Japaneseness'inTaiwan"(2015,presentedinEnglishattheannualconferenceoftheNorthAmericaTaiwanStudiesAssociation).
Shih-chenCHAOearnedaPhDinChineseStudiesattheUniversityofManchester,duringwhichshewastherecipientoftheDoctoralDissertationFellowshipawardedbytheChiangChing-kuoFoundation.
HerfieldsofscholarshipareInternetliterature,genderandqueerstudies,andfandomandmediastudies.
Sheisalsointerestedindigitalhumanities,whichconnectsthedisciplinesofhumanitieswithresearchIT.
HerpaperontheprosumptionofInternetfictioninChinawaspublishedintheJournaloftheBritishAssociationofChineseStudies,andherarticle"GrotesqueEroticismintheDanmeiGenre:TheCaseofLucifer'sClubinChineseCyberspace"waspublishedinPornStudies.
SheiscurrentlyworkingasaresearchITsoftwareengineerattheUniversityofManchester.
MaudLAVINisaprofessorofvisualandcriticalstudiesandarthistory,theoryandcriticismattheSchooloftheArtInstituteofChicago.
Shehaspublishedwidelyongenders,sexualities,andcultures.
HerbooksincludePushComestoShove:NewImagesofAggressiveWomen(MITPress,2010);CleanNewWorld:Culture,Politics,andGraphicDesign(MITPress,2001);andCutwiththeKitchenNotesonContributorsNotesonContributors247Knife:TheWeimarPhotomontagesofHannahHch(YaleUniversityPress,1993).
ShehasreceivedaJohnSimonGuggenheimMemorialFellowshipandaSeniorResearchResidencyatAsiaResearchInstitute,NationalUniversityofSingapore,amongotherawards.
HermostrecentessayshaveappearedinSituations:CulturalStudiesintheAsianContext;Intersections:GenderandSexualityinAsiaandthePacific;andTransformativeWorksandCultures.
EvaCheukYinLIisaPhDcandidateinfilmstudiesatKing'sCollegeLondon.
SheistherecipientofaChiangChing-kuoFoundationDoctoralDissertationFellowshipandaKing'sCollegeLondonHongKongScholarship.
ShehasbeentrainedasasociologicalresearcherattheUniversityofHongKong,fromwhichsheobtainedabachelorofsocialsciences(firstclasshonors)andmasterofphilosophy(awardedoutstandingresearchpostgraduatestudent).
Sheisinter-estedintheinterdisciplinarystudyofmediaandculture,genderandsexualities,andintimacyintransnationalandEastAsiancontexts.
Herdoctoralresearchexploresthelivedexperienceof"neutralgender/sex"(zhongxing),asubstantialgenderandmediatedphenomenoninpostmillennialChinesesocieties.
Herworkshaveappearedincollectedvolumesonfandom,gender,andsexualityinbothChineseandEnglish,andalsoinEastAsianJournalofPopularCulture,GraduateJournalofSocialScience,andTransformativeWorksandCultures.
FranMARTIN'sbest-knownresearchfocusesonculturalproductionincon-temporarytransnationalChina(thePeople'sRepublicofChina,Taiwan,andHongKong),withaspecializationinrepresentationsandculturesofgenderandqueersexuality.
HerpublicationsinthisareaincludeBackwardGlances:ContemporaryChineseCulturesandtheFemaleHomoeroticImaginary(DukeUniversityPress,2010);MobileCultures:NewMediainQueerAsia(coeditedwithC.
BerryandA.
Yue,DukeUniversityPress,2003);SituatingSexualities:QueerRepresentationinTaiwaneseFiction,FilmandPublicCulture(HongKongUniversityPress,2003);Angelwings:ContemporaryQueerFictionfromTaiwan(UniversityofHawai'iPress,2003);AsiaPacifiQueer:RethinkingGendersandSexualities(coeditedwithP.
Jackson,M.
McLelland,andA.
Yue,UniversityofIllinoisPress,2008);andTelemodernities:TelevisionandTransformingLivesinAsia(coauthoredwithT.
LewisandW.
Sun,DukeUniversityPress,2016).
SheisanassociateprofessorandreaderinculturalstudiesattheUniversityofMelbourneandanAustralianResearchCouncilFutureFellow.
YanruiXUisanassociateprofessorofcommunicationatNingboInstituteofTechnology,ZhejiangUniversity,China.
ShereceivedherPhDinliterarystudiesfromCapitalNormalUniversityinBeijingandwasapostdoctoralresearcherattheInstituteofCommunicationStudiesofZhejiangUniversityfrom2010to2013.
SheistheauthorofContemporaryFeministLiteraryCriticisminChina1980s–2000s(GuangxiNormalUniversityPress,2008)andMediaandGender:Femininity,MasculinityandtheFormulationofGenderinMedia(ZhejiangUniversityPress,2014).
ShehaspublishedresearchinChineseonwomen'sliteratureand248NotesonContributorsqueerculture.
XuisalsoaBLnovelist,andherstorieshaveappearedinChineseBLmagazinesandliteraturewebsitessuchasJinjiang,LuciferClub,andMyFreshNet.
LingYANGisanassistantprofessorofChineseatXiamenUniversity,China.
SheistheauthorofEntertainingtheTransitionalEra:SuperGirlFandomandtheConsumptionofPopularCulture(ChinaSocialSciencesPress,2012)andthecoeditorofFanCultures:AReader(PekingUniversityPress,2009).
Shehaspub-lishedarticlesonfanculture,Internetculture,andyouthfictioninInternationalJournalofCulturalStudies,CulturalStudies,andanumberofChinesejournals.
JingJamieZHAOiscurrentlyaPhDstudentinfilmandtelevisionstudiesattheUniversityofWarwick,UK.
ShereceivedherfirstPhDdegreeingenderstudiesfromtheChineseUniversityofHongKongandherMAinmediastudiesfromtheUniversityofWisconsin–Milwaukee(UWM).
SheistherecipientofUWMChancellor'sScholarships(2010–2012),LouiseJ.
KordusScholarships(2011,2012),a2015–2016GlobalScholarshipforResearchExcellence,andthe2015–2016CUHKReachingOutAward.
Herresearchspansadiversityofgender-andqueer-relatedtopicsinmediaandaudiencestudies,includingChinesefandom,cybercultures,andentertainmentTV.
ShehaspublishedinMediaFieldsJournal,Intersections,FeministMediaStudies,andEastAsianJournalofPopularCulture.
EgretLuluZHOUisalecturerintheDepartmentofLiteratureandCulturalStudiesandamemberoftheCenterforPopularCultureintheHumanitiesattheEducationUniversityofHongKong.
SheobtainedherPhDinculturalstudiesfromtheChineseUniversityofHongKongsupportedbyaHongKongPhDFellowship(2010–13).
Fandomandstardom,filmandtelevision,feminismandqueerstudies,youthsubculture,andmodernChineseliteratureconsti-tuteherresearchinterestsinrecentyears.
HerpapershavebeenpublishedinTheoreticalStudiesinLiteratureandArt,CulturalStudies,Twenty-FirstCentury(inChinese),andJournalofAudienceandReceptionStudies(inEnglish),amongothervenues;sheteachescoursesonfilm,TVdrama,Internetliterature,JinYong'scharacterization,comparativeliterature,EastandWest,aswellasphotomediaattheBAandMAlevels.
ShuyanZHOUisapostdoctoralresearcherintheSchoolofCommunicationandDesignatSunYat-senUniversity.
ShereceivedherPhDingenderstudiesfromtheChineseUniversityofHongKong.
HerresearchinterestsfocusonChinesecyberculture,popularculture,feminism,andpsychoanalysis.
Recentpublica-tionsincludebookchaptersinTransitioningMasculinities:Re-ImaginingMaleParadigms(2015)andNewTrendsinCommunicationStudies(inChinese,2014).
SheteachesBAandMAcoursesoncreativewritingandingenderandculturalstudiestheory.
ACAilisiWeiniangTuan(ACAliceFakeGirlGroup).
SeeAliceCosGroupACG(anime,comics,andgames):brother-sisterbondin,61n32;cosplayperformances,21–22,25,28–29,38;danmeifans,8–9;fanfeelingstowardcharacters,31;femalevs.
malefans,xii,30,41n25;narratives,30–31;onuniversitybulletinboards,xviii;websites,8–9.
Seealsoanime;comicmarket;Hetalia:AxisPowers;mangaagency:Chinesequeer,xv,66,72;netizens',92,106;political,91Akatsuka,NealK.
,208,210,218n43,230AliceCosGroup:cuteness(ke'ai)of,20,28–30,36–37,39;groupmembers,20,23,24–28;HaogeandXiaohua'swebentries,31–33,42n42;publicperfor-mancesandvideos,xxii,24,29–30,41n21,41n23;queerdimensionof,38–39;success,24,39;Weibopages,30,40n17Allison,Anne,36Altman,Denis,71Anderson,Benedict,46androgyny:hybridityand,76;popmusicgroups,xv–xvi;transnational,xi–xii;TVpersonalities,xvii;inWesternandChinesecontexts,xiv,75–76,87n96.
SeealsoHOCC;LiYuchun;Moennig,Katherineanime,xviii,xxviiin6,4,9.
SeealsoHetalia:AxisPowersAO3(archiveofourown.
org),10Aoyagi,Hiroshi,36Appadurai,Arjun,207–8Arnold,Matthew,15,19n50Australia,70,213AxisPowers:Hetalia(APH).
SeeHetalia:AxisPowersBaiduPostBar,5,9,22,24;DongfangBubaisite,112,115,116,124n7;Hetaliafancommunities,46–47;JoeChensite,121,124n7;LiYuchunsite,158Bakhtin,Mikhail,91–93,104–5,106Bao,Hongwei,161belonging,cross-borderelective,157–58,161–62,168,171bintai,meaning,163bisexuality,145,155n97bishōnen(beautifulboy),51–52"BluesontheRun"(Rita),57,62n42Blur-F,139–40,153n72BoaoForumforAsia,62n50Boys'Love(BL):celebritymatchmaking,94–98,95,98,101–6,103,110n48;cross-culturalcomparison,xxvi;fantasyofgrandunion,45,58;genderpoliticsof,10,205;hetero-sexualengagementwith,xxvi–xvii;homosexualitydiscourseson,203–7;publications,5–8;TVdramas,xi;writers,xx–xxi.
Seealsodanmei;fujoshi;JapaneseBoys'Love(BL);TaiwaneseBoy'sLove(BL)Boys'Love(BL)fandom:accesstoinformation,xviii;censorship,96,108n22;culturalappropriationof,105–6;failureof,101–2;folktheoriesIndexTheabbreviation"BL"refersto"Boys'Love.
"Pagenumbersinitalicsrefertoillustrations.
250Indexon,204,217n34;inmainlandChina,xviii,xxii,xxvi;malehomosexualfantasies,94–100,103–5,110n47,179,184,193n27;origin,93–94;scholarlyworkson,xiv.
SeealsoonlinefandomBoys'Love(BL)manga:censorshipandrestrictions,xxi,179,195–96,211–12;fantasyworlds,209–11,218n44;fujoshiconsumptionof,179,184–87,188;genderandsexualidentityand,205–7;girlcharactersin,204;historyof,196–97;inmainlandChina,93–94;piracy,xviii,xxi,197–98;semeandukeprinciplesof,9,50;subgenres,199–202,216n26;inTaiwanesemarket,197;tongrenzhiworks,198–99.
SeealsomangaBury,Rhiannon,64–65butchness:ofKatherineMoennig,66,74,76–78;normative,75,79Butler,Judith,38,44n71carnival,xxii–xxiv;Bakhtin'sconcept,91–93,104–5,106;officialmediaand,100,102;pleasuresof,103–4celebrities:BLmatchmakingof,94–98,95,98,102;consumerismand,105–6;privacy,83n23;queerreadingsof,xviii,64,65,70;rumorsof,96,99–100,104,110n48;supermodels,70;transgender,xvi–xvii;weiniang(fakegirl),22–23,33censorship:ofBLfansites,96,108n22;byCCTV,100–102,104;ofdanmeicontent,xxi,4,6,11,13;evasiontactics,xxi–xxii;fancirculationpracticesand,63;offilm,xvi,108n19;Internet,xxv,212–13;inmainlandChina,xiii,xxi,12,94,96;ofmanga,xxii,179,197,211–12;ofTVdramas,xvi,116Chang,Jing,xviiChang,Shihyun,183Chang,Weijung,xxvChao,Shih-chen,xxiiChen,Joe,xxiv,112,115,119,123,126n37Chen,LingcheiLetty,76Chen,Xiaomei,72–73Chen,Yizhen,183ChenChiao-En.
SeeChen,JoeCheng,Sammi,139,153n69CheungKwokWing,Leslie,xvChiang,Howard,xixChin,Bertha,11China:culture,91–93,132;cutenessin,37;empire/nation-stateidentity,53;Japaneserelations,48,56–57;language,31,40n12,42n35;Manchuregime,52;Marxistindoctrination,61n37;"proper"genderexpressionsin,20;publishingindustry,5,17n11;semeandukerepresentationsof,49–51,60n20;Sovietties,54–56;Taiwaneserelations,52;televisionindustry,xvi–xvii,114–15.
SeealsoHongKong-mainlandChinarelationshipChina'sGotTalent(Zhongguodarenxiu),23ChineseCentralTelevision(CCTV/CCTV-1),xvii,108n27,110n44,116;"LookingforLeehom"saga,93,100–102,105–6;SpringFestivalGala,xxiii,93,97–100,103–4,106Chinese/Chineseness,wordusage,xixChinesepoems,100,109n37Chinesewomen:innocent/sexualizedidentityof,37–38,39;"leftoverwomen,"118–19;socialistandrogynyof,75–76ChowWahShan,114Chu,Roland,114ChuaBengHuat,7Chung,Jui-ping,201cisgender,meaning,150n24comicmarket,6,14,17n14,215n13communism,55–56,113Confucius,45–46consumption:ofBLmanga,179;ofcelebri-ties,103,105–6;cultural/transcul-tural,xxv,xxvi,52,65–66;ofcuteness,35;ofdanmei,8,11,14;offunüsub-culture,101;of"Japaneseness,"180,183,184,208;ofmalehomosexuality,110n47;inqueerpolitics,132;spaces,137;ofWesternmedia,63–64cosmopolitanism,172n6;Chinesegaynessand,72;LiYuchunand,xxiv,158,160–61,164,167,171;"pop,"14,66;inPravdaRemix,54,56cosplay(costumeplay):crossplay-performances,21–22;definitionandorigin,xxviiin5,21,192n9;ofHetaliacharacters,47;websites,22;weiniang,22–23.
SeealsoAliceCosGroupIndex251cross-dressing:inChineseopera,44n75;ofcosplayers,21–23,33,38;inmanga,196–97culturaleconomy,15cuteness:babyish,34–35;Japanese"kawaii,"35–36;physicalattributesof,28–29;sexualizedfemininityand,xxii,36–37;SouthKorean"aegyo,"36–37,44n63cyberculture,91–93Danlan,xxdanmei:artistsandwriters,6–7,8,10,14;circles,8–11,15,18n23;asaculturalcommons,xxii,8,16;Euro-Americancircle(oumeiquan),8,10,15;femalefansof,15,17n10;asaformoflow-endglobalization,xxi,7,14;freeresources,7–8,9;Japanesecircle(rixiquan),8–9,15;magazinesandpublishers,5–6;originandtermusage,3,8,16n1;popularityof,3,4;transnationaldistributionnetwork,xxi,4,14;websitesandsocialmedia,4–5,7,9–10democracy,132;HongKong,xi,12–13,157,160disidentification,73,74,81,173n26dōjinshi.
SeetongrenzhiDongfangBubai(DFBB):gayreadingof,xxiv,116–17;genderchange,112,119;heterosexualreadingof,117–18;lesbianreadingof,121,121–23;popularityandadaptations,111–12;inTheSmiling,ProudWanderer,112–13;subcharactersandfan-madestoriesof,119,120,121,122,126n37;inSwordsman,114–15;inSwordsmanII,113–14Doty,Alexander,123DueSouth,64Duffet,Mark,xviiiDuggan,Lisa,132Dyer,Richard,79Erichsen,FrejaBeha,70Erni,JohnNguyet,163fandom,definition,133fandomstudies,xiv,xxviiin9,xxxiin62,111,172n5;onacademicfans(aca-fans),167–69,172n4;transna-tional,14fanfic(fanfiction):Asianfamily-themed,57;Pravdaseries,54,58;slash,8,10,31,65,123;studies,119,126n36;writers,5fansubs(fan-madesubtitles),xviii,xxiifantasy-realityrelationship,105,106,138,210–11fanzines,Seetongrenzhifemininity:butchnessandlesbian,74–78,87n96;cutenessand,22,36–37;LiuZhu'sviewof,33;masculinityand,50;normative,210;performing,20–21,32,38;sexualized,37,206feminism,117–19;culturalpolitics,204,205femslash,140–41.
SeealsoslashstudiesFengNong,6,7filmindustry:censorshipin,xvi,108n19;festivals,xx;inHongKong,72;inmainlandChina,xvi–xvii;inThailand,xviiFincher,LetaHong,118Fiske,John,71forums,fan:danmei,4,5,9–10,11,14,15;DongfangBubai,115;Hetalia,46–47,49;HOCCInternationalFanClub,133,138–40,150n18,153n68;TheLWord,63–64,82n9;SouthofNowhere(SON),82n10fu,meaning,xiiFuhr,Michael,36,44n63Fujimoto,Yukari,196–97,210,218n43fujoshi(femaleBLfans):ACGnarrativesand,30–31;BLfantasies,184–85,188,190,193n27;Japaneseness/Japanophiliacontextsof,xxv–xxvi,179–80,184–87;newnotionsofsexual-ityand,xxvii;profileofinterviewees,181,182,191n6;termoriginandusage,17n10,30,179,191n3.
Seealsofunüfunü(rottenwomen):celebrityconsump-tion,106;malehomosexualfantasiesof,94–99,101,105,108n21;meaning,30,93,191n3.
SeealsofujoshiGalbraith,PatrickW.
,184GardenofEdenSubtitlingGroup(YidianyuanZimuzu;GE),73,87n96;fansurveys,67–69;gossipabout252IndexKatherineMoennig,xxiii,67,80;TheLWordfanforum,63–64,77;overviewofservices,63gaypassion(jiqing),97,108n28genderflips(xingbiefanzhuan),xigendernorms,33–34,39,50,147;Chineseexpressionsfor,77;tomboy,166–67,169.
Seealsoheteronormativitygenderperformance:ofAliceCosGroup,20–21,34,38–39,44n75;ofHOCC,146;inMaoistChina,75–76.
Seealsoperformativitygenderpolitics:activism,117;Chinesefemale,75–76,79;ofdanmei,10;discussionsononlineforums,14,73;geopoliticsand,46,50–51;ofTaiwaneseBLfans,203–4geopolitics:ofChina,53;genderpoliticsand,46,50–51GeZhaoguang,53Giddens,Anthony,188–89Girls'Generation,27,29–30,36–37Girls'Love(GL):definition,16n3;schol-arlyworkson,xiv;TVrepresenta-tions,xi;unpopularityof,218n43.
Seealsolesbians/lesbianismglobalization:accelerating,207;Chinaand,58;cultural,15,63;hybridityand,76;ofJapanesepopularculture,179;low-endandhigh-end,xxi,7,14;ofqueerculture,71–72gong/shoucoupling,179,188,191n2,200–201,215n18.
Seealsoseme/ukerolesGoPrincessGo!
(Taizifeishengzhiji),xigossip:onfemalemodels,70;aswomen'spractice,67;onHOCC,xxiv,134–35;onKatherineMoennig,xxiii,65,69,77–78,80;onLiYuchun,160–61,168–71;represseddesiresand,66;valueof,175n55;onWangandLi,104Gould,StephenJay,34–35GreatCulturalRevolution(1966–1976),75,113Guess(Wocaiwocaiwocaicaicai),xviiGuoJingming,94–95,95Halberstam,Judith,75,79HanHan,94–95,95HanYi,13hegemony,53,54,71,91HelloKitty,35Hetalia:AxisPowers,60nn16–17;Asianfamilythemes,57;BorntobeDragonfanzine,51–54,58,61n31,61n40;events,47,60n13;onlinefancom-munities,46–47;popularityandcontroversy,xxii–xxiii,47–48,59n7;PravdaRemixfanzine,54–56,58,61n42,62n52;semeandukeallegories,49–51;seriesoverview,45–46heteronormativity,83n23,102,105,131;danmeiand,3;familial,136,141,148;offanforums,138–39;offemalebodies,142;homoeroticismand,203;internalizationof,143,147;lesbianismand,79,142,146–47;meaning,132heteropatriarchy,xxiii,66,76,79,80;Chinesefamilyand,136,148.
Seealsopatriarchyheterotopia,xivHimaruya,Hidekaz,47,49,55,59n11,61nn31–32Ho,DeniseWan-See.
SeeHOCCHo,JosephineChuen-juei,213HOCC:ambivalenceofhersexuality,xxiv,132,138;antidiscriminationactivism,117,144,145,154n74,155n96,160;blog,153n66;coming-out,xxv,143–45,151n37,151n39;femslashon,140–41;genderrepresentation,134–35,135,150n22;historyandmusiccareer,133–34,151nn32–33,154n75;InternationalFanClub(IFC),133,138–40,150n18,153n68;lesbianembodiment,145–47,148;nickname,140,154n81;sexualityandrelation-ships,135–36,141–42,148homoeroticism,xii,xvi,xxviiin9,83n23;characterizationsofJapan,65,187;Chinesefemalegenderand,79–80;female,xi,68,71,74;ofWesterncelebrities,65,67,70,76,80homonormativity,132,147homophobia,xxiv,73,100,153n61;infan-madestories,122–23;inHongKong,132,137;normalizing,145homophobicprohibition,102,104–5,106,110n44homosexuality:BLdiscourseson,204–7;decriminalization,xx,96,132,136–37;femalefantasiesofmale,93–94,97,Index25399–100,101,104–6;filmindustryand,xvi,108n19;andhomosociality,xvi,94–96,103–4,179;liberalattitudeson,203–4;trivializationoffemale,75;inTVdiscourses,117;Westerncountriesand,70.
Seealsolesbians/lesbianismHongKong:antidiscriminationlegislation,144;classinequality,162;evangeli-calactivism,136–37,144;languagesspokenin,149n7;mainland-bornresidents,157;media,xvii,137–38,141;musicindustry,134,150n28;prodemocracymovement,12–13;queerpolitics,114,132–33,137–38;sexeducationin,141;socialmovements,xi,xx,132,136;tourists,163,173n28HongKong–mainlandChinarelation-ship:bigotry,157–58,163–64,172n5;cross-borderfriendships,161–62,166,171;fanperceptionsofLiYuchun,xxiv–xxv,164–67;handover,52,157HunanSatelliteTV,xvii,33,41n23;Kuailenansheng(Happymalevoice),22;SuperGirl,xvi,159;Swordsman,115,116hybridity,66,76,80,180,191hyperfemininity,32,76,134,200hypermasculinity,78–79identities:China's,53;coming-out,201–2;cross-gender/transgender,xv,xxi;fans/fannish,xiii,xv,138,142,158;gay,116,207;genderandsexual,22,33–34,38,68–69,204,206–7;lesbian,xxiii,68,69–70,78,79,87n96;national,14,15;paradoxesandcomplexitiesof,xxvi,xxvii;politicsof,133;virgin/whore,36–37IfYouAretheOne(Feichengwurao),xviimaginaries:fannish,161;femalehomo-erotic,68,70–71,80,83n23,200;gendered,76;ofJapan,64,183,184,188,196;transnational,213;Westernqueer,xxiii,65,70–72imaginedgeography,64–65,196,207,211,218n44incest,121Internet:anonymityof,4;Chinese,11,91–92,97,103;connectionsandaccess,xvii–xviii;protection/regulationmeasures,212–13,218n50;Taiwanese,212;tongrenzhisalesnetworks,14;usage,xxixn9.
Seealsoforums,fan;onlinefandomIto,Mizuko,3Iwabuchi,Koichi,58,187,193n31,208Jackson,PeterA.
,71Japan:aggressionagainstChina,48,53;colonialruleofTaiwan,xxv,187–88;consumerculture/culturalproducts,35–36,189–90,208,218n42;otakuculture,xii,183;"softpower,"15–16;tourists,209;inWorldWarII,xxiii,192n10JapaneseBoys'Love(BL):aestheticsandconventionsof,9;Chinesedanmeifansof,xxii,5–6,8–9;cross-culturalconsumptionof,xiv;popularityintheUnitedStates,208;translationofworks,xxi,8.
SeealsoBoys'Love(BL)mangaJapaneselanguage,31,42n35,185–86,192n25,193n26Japaneseness:consumptionof,180,189–90;foreignnessof,189;infujoshiprac-tices,xxv–xxvi,184–86;idealsinBLfantasies,188–89;Japanophiles'desirefor,183–84;recognizedbyTaiwanesemangareaders,208–11;Taiwanesecolonialhistoryand,187–88Japanophilia:definition,179–80;fujoshicultureand,xxi,xxvi,179–80,186–87;mediaattentionto,180,183,192n10;roleofJapanesenessin,183–84,186,188,190ji,meaning,xiiJinjiangLiteratureCity,4–5,9–10,94.
SeealsoXianqingJinYong(LouisCha),xvii,xxiv,111–13,115,119,124n3;studiesofhisworks,111,123Jones,Carol,163Kam,LucettaYipLo,75kawaii(cute/adorable),22,31;inJapaneseculture,35–36ke'ai(cuteness):jiaomei(coquettish),37–38;originandcontemporarycontexts,20,37;performedbyAliceCosGroup,20,32,38,39Keenan,ZeeMattanawee,xvii254IndexKim,Youna,43n62kimonos,190,194n40Kinsella,Sharon,36Ko,Yufen,183K-pop,xxii,20,43n62,51;Girls'Generation,27,29–30,36–37Lacan,Jacques,104Lau,Wilfrid,135–36,143Lavin,Maud,xxivLee,Iyun,183,189Lee,Ming-Tsung,191n4Lee,Tzuyao,183Lei,Weizhen,92Leo,Ching,56lesbian,gay,bisexual,transgender,andqueer(LGBTQ):celebrities,xvi–xvii;identity,xv,131;newformsofsexual-ityand,xxvii;popartists,xv;PRCgovernment'sattitudetoward,xvi,96;socialandpoliticalactivities,xx.
Seealsospecificgrouplesbians/lesbianism:celebrities,64,69–70,78,80;inDongfangBubaicontext,121,121–23;infan-madewebisodes,121–23;feminine/masculineroles,75–79,87n96,142,146–47;inHongKong,137–38,155n100;"proper"embodimentof,132,145–47,148;universalappealof,68;Westernidealsand,66,74.
Seealsobutchness;LWord,The;tomboyLes+magazine,xxLeTV,xi,117Leung,HelenHok-Sze,75,114Li,EvaCheukYin,xxiv,171Li,Hongmei,91–92,95Li,Shubo,13Lin,Brigitte,xxiv,113–14linguisticbarriers,10–11literaturewebsites,7,9–10Liu,LydiaH.
,35n43Liu,Pinzhi,184Liu,Ting,7LiuQian,100–102LiuZhongde,159LiuZhu,22,33–34,40n14,42n44,43n47LiYuchun:commercialsuccess,159–60;genderandsexualambiguity,xxv,158,160–61,162–63,169–71;gossipabout,168–69;HongKong–basedmainlanderfans(Corns),xxiv,157–58,164–67,171n1LiYundi:BLfantasiesof,98,98–100,103,103–6;"LookingforLeehom"saga,93,100–102,110n48;pianocareer,108n23;sexualidentity,xxv,99–100,102,104;SpringFestivalGalaperfor-mance(2012),xxiii,97Lofter.
com,5Lohan,Lindsay,78–79LongMarch(1934–1935),56Lorenz,Konrad,34LostinThailand(Renzaijiongtuzhitaijiong),xviLouie,Kam,32love:romanticandconfluent,188–89,204,207;subgenresinBLmanga,199–202LWord,The(TLW):criticismonlesbianrepresentations,74,146–47;fansurvey,67,69;onlineforum,63–64,82n9;plot,155n101;portrayalofgenderandsexuality,68;transla-tionanddistributionof,63.
SeealsoMoennig,Katherinemanga:aestheticsandconventionsof,9;BLandGLoriginsin,xii,93–94,179;cosplayperformancesof,xxii;piracy,46,197–98;publishers,179;restric-tionsandcensorship,xxii,179,197;shōjo,196,214n3;shōnen-ai,196–98,215n15;Taiwanesereaders,197–98,208–11;translationof,8,48;onuniver-sitybulletinboards,xviii;websites,8–9;womenauthors,196.
SeealsoBoys'Love(BL)manga;Hetalia:AxisPowersMaoZedong,113,114,115,118,125n20maps,58markets:danmei,5–6,7;Japanese,36;overseas,15marriage,118,151n39,155n96;same-sex,137Martin,Fran,xxv,xxvii,64–65,68,187masculinity:butchnessandlesbian,74–78,87n96;female,xvi,75,78–79;soft,51–52;inrelationtofemininity,50;soft,51–52;inwen/wuarchetypesof,32Mathews,Gordon,xxi,7Matsuo,Hisako,210,218n43Index255McLelland,Mark,213mediaindustry:Chinese,72,91–92,104;grassrootsvs.
top-down,xiv;Japanese,180,183;mainstream,94,96,99,101,104;powerrelationsin,103;Taiwanese,183;Western,xviii,xxii,57,63–64.
Seealsofilmindustry;televisionindustryMeiLanfang,33,42n42meili,meaning,32meng,meaning,30–31Meyer,Uli,94Meyers,Erin,175n55MickeyMouse,34–35minoritariansexuality,159,162MissTER,xviMizoguchi,Akiko,xxvii,195,197moe,termusage,31,185–86,192n23Moennig,Katherine:fangossipabout,xxiii,65,69,77–78,80;personallifeandsexualorientation,66–67,70,74–75,78–79;roleonTheLWord,65,74,76moeru,meaning,31Mongkok,147,156n103Morimoto,LoriHitchcock,11Morreall,John,34Muoz,JoséEsteban,73,76,173n26myfreshnet.
com,7Nakamura,Karen,210,218n43nationalism:ondanmeiforums,12–14,15;ofHetaliafans,xxv,54;queer,46Nava,Mica,158,172n6neta,meaning,61n41netiquette,47netizens,108n27,114;BLmatchmakingand,94–95,98;gay,110n47;parodyandcarnivalpractices,91–93,99–100,103–6neutrosexuality,xiv,xvi.
SeealsozhongxingNirvanainFire(Langyabang),xixnormal,concept,132,138;queerrelations,xxiv,141,143,147,148,155n95.
SeealsoheteronormativityNütongXueshe,153n61Occidentalism,xxvi,49,65;Chinesequeerimaginingsof,xxiii,71;officialandantiofficial,72–73OccupyCentralmovement,12–13,151n39Oh,Chuyun,36onlinefandom:DongfangBubaifancommunity,116–19,120,121–23;Hetaliafancommunity,46–47;HOCCdiscussions,133,138–40,144–47,150n18,150n22,153n68;influenceonofflinemedia,96–97,101–2;TheLWordfandemographics,67–68;politi-caldebates,12–13,73;transculturalactivities,10–11;WangandLiforums,93,99–100;weiniangcommunity,22.
Seealsoforums,fanotaku:culture,xiv,3,183;meaning,xii;sexuality,xxviiotokonoko(maledaughter),22,40n9.
Seealsoweiniang(fakegirl)Otomedream.
com,8–9Ozaki,Minami,198,216n20PalaceofDesire(Daminggongci),xviparodyandspoof:inBLmatchmakingofWangandLi,97,99,100–102,103;inHetalia,47–48,61n37;pleasureof,94–95;politicalpotentialof,91–93patriarchy,38,117–19,204.
Seealsoheteropatriarchypeer-to-peer(P2P)networks,xviii,63People'sRepublicofChina(PRC)govern-ment:attitudeonLGBTQ,xvi,96;censorshippractices,xxi;democraticmovement(1989),12;DongfangBubaiand,114;restrictionsonforeignmedia,xxiiPerfectSky(Feitian),5performativity:Butler'sdefinition,38,73–74;gender,20–21,38–39,44n71,146–47;lesbian,74,170piracy,xviii,xxi,46,64,197–98Pivi.
net,9politics.
Seegenderpolitics;queerpoliticspopularculture:Chinese-speaking,xi,xiii,xxviiin9,68,87n96,94;consumerismin,105;cutenessin,35;global,xxvii,3;HongKong,161,168;hybridized,180;Japanese,xxi,xxvi,3,179–80;politicsand,117;transnational,14,81;utopiandimensionof,xxvi;Western/American,xviii,147pornography,4,201–2,205,207,214n6256Indexpowerrelations,50,56,74,76;indifferentformsofmedia,92,103,104prideparades,xx,137,143,145QiongYao,201,216n24QiuZitong,37queer,termusage,xii,xix,131–32queerfancultures:cross-cultural,64–65;expansion,xix;genderhierarchy,xiv–xv;heterosexualengagementin,xxvi–xxvii;inHOCCfandom,131–32,136,138–43,148,150n19,150n22;queerfantasiesof,xii,xxvi,64–65,69–71,73–74queerlight,definition,162,167,169queerness:appearanceof,162;ofChineseculture,71–72;commodified,166,170;ofHOCC,132,150n22;perform-ingke'aiand,20–21,38–39;Westerninfluenceon,71queerpolitics:Anglo-American,132,149n10;inHongKong,133;normali-zationof,147,148,155n95queerstudies,xiii–xiv,xxviiin9,83n23,123rituals,139,153n70,206Rofel,Lisa,76Ronson,Samantha,78Rose(actress),xviRottenManga,8–9SailorMoon,21,30Saito,Tamaki,xxviisajiao(coquettishness),20,37–38,39;meaning,29scanlation,9,48,185,192n22.
SeealsotranslationgroupsSedgwick,EveKosofsky,68,94selfiephotos,37seme/ukeroles:inBLfandreamlands,45;Chinesedanmeiand,9–10,15–16;inHetaliacontext,46,49–51,52–53SengokuBASARA,186,192n24sexualcompetitiveness,205S.
H.
E.
,xvishengnü(leftoverwomen),118–19Shih,Shu-mei,xixSilvio,Teri,186SinaWeibo,5,99,115,158;AliceCosGroupaccount,20,24–28,30–32;DongfangBubaifans,112,124n7;HOCC'saccount,143,154n74;LiYundi's,99,101,102;tongzhiactivismon,116–17Sinitic-languagecultures,xixSino-Japaneserelationship,48,56–57Sino-Russianrelationship,54–56slashstudies,65,83n23,123,140,215n16.
Seealsounderfanfic(fanfiction)Smiling,ProudWanderer,The,xvii,xxiv;adaptationsandversions,111–12,124n3;plotandcharacters,112–13socialmovements:inChina,96;inHongKong,xi,xx;OccupyCentralmovement,12–13,151n39;tongzhimovement,116–17,126n31,132,136,144,147.
SeealsoUmbrellaMovement(Yusanyundong)socialnetworking,5,99,140,144,154n74.
SeealsoSinaWeibo;TwitterSouthKorea:cutenessin,36;popindustry,xxii,20,36–37,43n62,51;protestofHetalia,48;queerfanculture,xixSouthofNowhere(SON),82n10StateAdministrationofPress,Publication,Radio,FilmandTelevision(SAPPRFT),xvi,33,100,108n19,116stereotypes,47,73,137,163,170;lesbian,75,79,146studentprotests,xi,12,14Suiyuanju,10SuperGirl(Chaojinüsheng),xvi,159,164SuperIdol(Chaojiouxiang),xviiSwordsman,xxiv,112,125n12;charactersandplot,114–15;fan-madesubcharac-tersandwebisodes,119,120,121–23,126n37SwordsmanII,xxiv,112,125n12;charactersandplot,113–14Taiwan:acceptance/negationofhomo-sexuality,xx;colonialhistory,xxv,187–88;mainlandChinarelations,52,61n32;musicindustry,xv–xvi,150n29;politicians,186,193n27;pro-Japanesesentimentsin,179,187–88,191n4;publishingindustry,6–7,197–98,212,215n13;regulationofculturalproduc-tion,213TaiwaneseBoy'sLove(BL):BLmangaand,xxi,199–202,215n18;comparedtoIndex257mainlandBLfandom,xxvi;culturallaborof,202;"doubleforeign-ness"of,64–65,211;genderandsexual-itydiscourses,202,204–7,213n1;generationalattitudes,203;homo-eroticimaginingsofJapan,64–65,196;Internetaccessand,212;socialfunctionof,195,207;transnationalimaginaryand,213;"worlding"and,xxv,211.
SeealsofujoshiTaobao,24,54televisionindustry:Chinesedramasandseries,xvi–xvii,114–15,116,118,125n24;Japanesedramas,180,183,188;singing/talentshows,xvi,22–23,33,159;stateregulations,xvi,xxi,116;Taiwanesetalkshows,xvii;translationofshows,63.
SeealsoChineseCentralTelevision(CCTV/CCTV-1);HunanSatelliteTVThatYear,ThatRabbit,ThoseEvents(Naniannatunaxieshi),60n17Theweleit,Klaus,163Thorn,Matthew,21TianchuangLianmeng,14,47TianmanBLue(Tianmanlanse),5Tianya,48,50,99TinyTimes(Xiaoshida),xvi–xviiTo,Sandy,118Tokidoki,35tomboy,66,68,78,87n96,142;HOCCas,146–47;inHongKongculture,146,155n100,160,166,169;LiYuchunas,158–60,163,167;Taiwanesemusicgroups,xv–xvitongrennü(BLfangirls),45–46,59n3.
Seealsofujoshi;funütongrenzhi(fanzines),6,14,17n14,183;BLsubculture,196,198,202,211;BorntobeDragon,51–54,58,61n31,61n40;circles,215n15;definition,192n8;Hetalia,47,54;PravdaandPravdaRemix,54–56,58,61n42,62n52;"TheProlongedSleep-over,"52;worksinTaiwan,198–99tongzhi(gay):activism/movements,116–17,126n31,144,147;discrimina-tion,143,153n61;manganarratives,201–2,204;meaning,149n6;normali-zationand,132,147,148transgender,134;celebrities,xvi–xvii;identities,xxi,113.
SeealsoDongfangBubai(DFBB)translationgroups,xviii,8,9,48,63.
SeealsoGardenofEdenSubtitlingGrouptransnationalculturalflows,xii,4,14,15,58,76Tsai,Chih-lan,183Tsui,Hark,xxiv,112–14,115,119,125n20Tudou,48,140Twitter,13,67,70,154n74.
SeealsoSinaWeiboU17.
com,5UmbrellaMovement(Yusanyundong),HongKong,xi,xxv,157;HOCC'ssupportfor,151n39,154n74,155n96USSR,54–56utopianism,xxvi,80,92;Confucian,45–46;lovefantasies,189;queer,70–71,72Valentine,Gill,64,207Vietnam,xixVolodzko,David,163WangLeehom:BLfantasiesof,98,98–100,103,103–6;"LookingforLeehom"saga,93,100–102,110n48;sexualidentity,xxv,99–100,102,104,108n23;SpringFestivalGalaperformance(2012),xxiii,97Warner,Michael,132,207webisodes,121–23,122,126n37Weibo.
SeeSinaWeiboweiniang(fakegirl):celebrities,22–23,33;onlinefancommunity,22,39,40n13;performing,38;physicalattributesof,23;popularityof,20.
SeealsoAliceCosGroupWeiniangBa,22,40n13Westernization,71–73.
SeealsoOccidentalismWilliams,Raymond,217n30Wong,Faye,xv,xxviWorldWarII,xxiii,47,192n10wuxia(martialarts),164XianqingForum:femaleaggressivenessof,15;overseasusers,11–12;politicaldiscussions,12–14;topicsandjargon,11;WangandLithreads,97,99258IndexXiaoCan,23Xu,Yanrui,xxiYahoo!
,153n66Yang,Guobin,11,91–92Yang,Lijun,13Yang,Ling,xxi,xxii,159,161Yano,ChristineR.
,36yaoi,xxvii,94,179,197;termorigin,214n6.
SeealsoBoys'Love(BL)YaoiSociety,6YauChing,114,132YesorNo,xviiYoshiya,Nobuko,214n3Youku,24,29–30,140YoungsterC(Cqingnian)stories,49–50,51,54YouTube,140,154n76Yung,Joey,151n37,153n66;fandiscussionson,138–40,153n67;HOCCbreak-up,143–45,154n76;nickname,135–36,154n81YuZheng,xxiv,112,115,116,119zhai,meaning,xiiZhao,JingJamie,xxiiZheng,Yongnian,13zhongxing(neutrosexuality),87n96;HOCC'sassociationwith,141–42,146,148;LiYuchun'sassociationwith,158,161,164,166–67.
Seealsoandrogyny;tomboyZhou,EgretLulu,xxi,xxivZhou,Shuyan,xxi,xxiiiZhuxiCandang,208iek,Slavoj,105