![]() ![]() Two of her works, Hatarake, kentaurosu! ('Work, Centaur!') and equus, focus exclusively on male centaurs in homosocial settings. Japanese manga artist est em (esu to emu) is notable for blurring genre boundaries and subverting established conventions in various publications since her debut in 2006. Throughout the article, I reflect upon the necessity for scholars to engage with genre in a more nuanced fashion in order to better understand how individual consumers engage with media texts in their everyday lives. Importantly, by focussing upon readers’ subjective relationships with texts, this article demonstrates how ‘gay manga’ is understood through an affective lens, with consumers locating their understandings of ‘gay manga’ within their overall patterns of ‘gay media’ consumption. For the informants, geikomi and BL are interconnected and they are both understood as legitimate expressions of gay subjectivity which play a crucial role in their understandings of gay desire. I argue that the informants understand BL and geikomi as two aspects of the same meta-genre, revealing how attitudes to the term ‘gay’ have evolved in Japan. Drawing upon interviews with four Japanese gay men, one Japanese-Korean man and one Japanese-Brazilian man, I investigate how ‘gay manga’ is understood as a locus for the construction of gay subjectivity. ![]() This article critically analyses the concept of ‘gay manga’ to ascertain how fan ‘produsers’ and casual consumers understand both geikomi (also known as bara) and Boys Love (BL) manga. Because of the closely interrelated nature of the components of increasingly international media mixes, communities of fans have the potential to make positive and progressive contributions to the media mix ecosystem. The interactions between texts and their readers found in dōjinshi illustrate how cycles of narrative production and consumption have changed in the face of active fan cultures. In BL (boys' love) fan comics, which are notable for their focus on a romantic and often physical relationship between two male characters, the female gaze has created its own overtly homoerotic readings and interpretations that creatively subvert the phallocentrism implicit in many mainstream narratives. In dōjinshi, or self-published fan comics, female readers create their own interpretations of stories, characters, and relationships in narratives targeted at a male demographic. Although such franchises are commonly understood as being controlled by large corporations, the fans of these media properties make significant contributions to the mix, often expanding on the central themes of the source texts and queering them by rendering their subtexts explicit. The Japanese expression "media mix" refers to multimedia marketing strategies for entertainment franchises. Overall, the article charts the historical development of a new, affirmative representational queer politics in the Thai mediascape. The article thus also shows how the lakhon educates its users into the affective reading practices of Japanese BL fans, introducing queer readings into the Thai mediascape. But the article also reveals that Lovesick sits within a broader social process whereby Japanese popular culture has come to influence Thai conceptualizations of sexuality. The article argues that the series’ ‘wavering’ narrative focus between queer and heterosexual romance and its characterization of its male protagonists as stereotypical heterosexual men (phu chai) responds to the need for lakhon to privilege heteronormative romance. Through an investigation of the narrative of the first series of Lovesick, this article shows how the narrative conventions of Japanese BL are ‘glocalized’ to conform to the heteronormative narrative focus of typical lakhon. This lakhon represented a watershed moment in representations of queer sexuality in Thai mainstream media, inaugurating a new genre of media known as series wai. Maybe it's because they're still young (16-18 y.o)Īs the story, I would rate 8/10.This article explores the adaptation of Boys Love (BL), a Japanese genre of homoerotic media produced for heterosexual female audiences, to the Thai mediascape through an analysis of Lovesick, The Series (2014). ![]() I would rate the actors 8/10, not that brilliant though. The story itself is just like another high school themes, with many conflicts that quite interesting I watched this series but focusing on Phun Noh couple only, since they're so popular. When Phun shout back to Noh, "I like you too." Love story between Phun (high school student) and Noh (high school student) ![]()
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