Social media not only create new opportunities but also pose new challenges for the ways people navigate their online selves. As noted by boyd, social media are characterized by unique dynamics such as collapsed contexts, implying that one's distinct offline social worlds meet online. This creates particular challenges for lesbian, gay, bisexual, transgender, and queer (LGBTQ) people, at least those who find it crucial to maintain distinct contexts in which they disclose or conceal their gender and/or sexual selves. However, the existing scholarship on social media use by LGBTQs is predominantly anchored in English-language Western contexts and tends to lose sight of the cultural specificities of Internet use. Therefore, in this article, we build on the scholarship to further investigate the role of context for disclosing or concealing gender and/or sexual selves online. More specifically, we ask, "How do social, cultural, and material contexts affect the ways LGBTQs navigate their selves on social media?" To investigate this question, we analyze in-depth face-to-face interviews with gay men who themselves, or whose parents, migrated to Belgium. Because their migration background forces them to negotiate different social, cultural, and material contexts, our focus on diasporic gay men helps to bring out the issue of context in social media use.
Learning to be gay LGBTQ forced migrant identities and narratives in BelgiumWithin the wider population of forced migrants, LGBTQs face particular challenges.While sexual orientation and gender identity (SOGI) are recognised grounds for asylum, academic and civil society observers are critical of the imposition of Western identity labels and liberation narratives on asylum seekers. This paper explores the situation in Belgium, where an increasing number of people obtain asylum based on SOGI claims. First, the relevant regulations and practices are discussed, based on desk research as well as interviews with advocates. Second, the personal experiences of forced migrants are discussed, based on in-depth interviews with gay-identifying men.The advocates confirm the prominence of (Western) conceptions and narratives of sexual identity in the procedure. While the forced migrants seem to reinforce this view, by expressing Western views on sexuality in the research interview, this paper explores the degree to which this can be attributed to the asylum procedure.
Textual analysis of Flemish television drama produced by the monopolistic public service broadcaster discloses strong representational patterns constructing a homogeneous discourse about the nation, focusing on rural Flanders in the early 20th century. Using document analysis and expert interviews, the production context of this discourse is reconstructed. The drama on offer turns out to be the product of a cultural-educational and Flemish-minded broadcasting policy, deliberately aiming to stimulate Flemish culture and the viewers’ national identity. However, there are also other factors at play, such as viewer preferences, financial restrictions and creative constraints. The drama produced, and the portrayal of Flanders, is the result of processes of negotiation between these considerations and restrictions.
There is no denying that television, as a medium and an institution, has drastically changed in the age of digitization and convergence. For audiences, this has not only opened up multiple opportunities to watch television content at other times and on other devices, but also to interact with its cross-media extensions. However, while much has been written about the new opportunities for audience engagement, we do not know much about the actual adoption of new technologies nor the motivations underlying such uses. Therefore, this paper draws on empirical audience research to address the key question: how do viewers engage with contemporary TV fiction? Through empirical audience research, using various qualitative research methods, three different aspects of the reception of cross-media TV fiction will be discussed: (1) how do viewers watch the TV episodes of contemporary TV fiction?, (2) how do viewers engage with the cross-media extensions of TV fiction?, and (3) how do viewers experience the social dimensions of contemporary TV fiction? We focus on a particular group, that of 'engaged' viewers, who are actively involved by personalizing their viewing practices, by communicating about it, by consuming cross-media elements of TV fiction, or producing TV fiction-related content. Our findings suggest that even this group does not make full use of all the available technological opportunities to personalize TV viewing, and that the classical TV text, linear viewing, and the social aspect of viewing remain of key importance.
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