Ang Kasalimuotan ng Pagiging Fangirl: Ilang Alternatibong Pagtanaw sa Mundo ng Kababaihang Paghanga
Article
Malaki ang papel ng midya sa paghubog ng popular na kamalayan hinggil sa mga babaeng tagahanga. Sa artikulasyong nagmumula sa labas, hindi na bagong maisadlak sa representasyong patolohiko ang mga tagahanga na muling binalingan at sinandigan ng pelikulang humalaw ng pamagat sa identidad na madalas niyayakap ng mga tagahangang babae—ang Fan Girl (Jadaone, 2020). Sa pamamagitan ng paglalatag ng pagtatalabang panlabas at panloob na sumisipat at nagbibigay-pagkakakilanlan sa identidad na ito, patitingkarin ang bisa ng fandom bilang sityong maaaring pag-ugatan ng alternatibong diskursong hindi lamang umaalagwa sa hegemonikong pagkilala sa mga fangirl, kundi nag-aalok din ng artikulasyon hinggil sa pansariling nosyon kung papaano maipapahayag ang kababaihang paghanga. Naka-angkla sa praktika ng fangirling, ilalahad ng papel ang mga mekanismong sinusuong ng fandom upang pasubalian ang talamak na representasyon, at ipakilala ang sariling identidad ng komunidad na patuloy na kasangkot sa paglikha ng mapagpalayang pagtanaw sa kasarian at seksuwalidad.
Mainstream media has played a vital role in shaping popular consciousness about female fans. Such articulations that emanate from outsiders oftentimes adhere to pathological representation that was revisited and compounded by a recent film that adapted for its title the identity embraced by female fans—being a Fan Girl (Jadaone, 2020). Through the analysis of conflicting views from outside and inside the community that interpret a fangirl’s identity, the paper will highlight the fandom’s efficacy as a site where alternative discourse arise that does not just oppose the hegemonic recognition against fangirls, but also offers an articulation how the community developed its notion of female fan expression. Anchored to the practice of fangirling, the paper will show mechanisms fans undergo to object the existing deep-rooted representation and exhibit the identity of a community that has long been involved in the creation of a more liberating view of gender and sexuality.
Ken(shin)do(es it): Exploring Anime Fandom as a Driving Motivation in Practicing Martial Arts
Article
Mass media has long been known for its capacity to influence and inspire its audience. Aside from being able to motivate viewers to consume a product and to participate in a real-world event, it can also spur them to engage in activities that are related to a television show’s theme. In connection with this last point, this study explores the link between the Japanese manga, anime, and movie series and cultural product Rurouni Kenshin and the Filipinos’ motivation in joining a kendo club. A survey of 50 Filipino kendoka or kendo practitioners, which covers questions regarding their exposure to the anime, movie, and/or manga versions of Rurouni Kenshin and their reasons in practicing the martial art, reveals the franchise’s significant influence on them, together with other factors such as generic interest in Japanese culture, self-improvement, and other media product influences.
The Yaoi Phenomenon in Thailand and Fan/Industry Interaction
Article
This article aims to explore yaoi phenomenon in Thailand particularly during the 2010s at the height of the industry involvement with yaoi fandom. The article draws on Paul Booth’s (2015) study of fan/industry interaction to expand existing scholarship on yaoi phenomenon in Thailand which tends to focus on textual readings linking back to the Japanese cultural origin, ethnographic research, and the aspect of queer cultural politics. The study also draws attention to GMMTV Company Limited, a key player in expanding the yaoi industry in Thailand and growing the fandom of Thai yaoi stars in different countries in Asia. The article discusses the way GMMTV expands yaoi industry through connections with the local book industry as well as its own star and music making divisions. It pays close attention to fan/industry interactions rooted in the industry-led mimetic practices inspired by yaoi fan culture. These practices include the act of “shipping” (pairing yaoi couples) through what fans referred to as Official Promotional Videos (OPVs) and television shows. The article then discusses the way GMMTV employs fan nostalgia to create memory-driven activities. The highly commercialized industry-led fan meeting also offers an interesting site to explore fan/industry interactions where fan-led practices were reenacted by the industry yet consumed by fans themselves.
