Not ‘from my hot little ovaries': how slash manips pierce reductive assumptions

Brennan, Joseph

doi:10.1080/10304312.2013.854872

Cited by 9 publications

(3 citation statements)

References 28 publications

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“…Shipping is also reflected in fan artwork, in which individuals edit or create their own digital images, drawings, paintings, or music videos portraying fictional couples (Brennan, 2013a; Russo, 2009; Scott, 2015). Creating this art can even become an important part of one’s identity (Brennan, 2013b). For instance, some gay men engage in these practices online, indulging in imagined homosexual pairings of fictional characters, as a way of forging an anonymous identity for themselves (Brennan, 2013a).…”

Section: Shipping and Interest In Fictional Couplesmentioning

confidence: 99%

Interest and investment in fictional romances.

Monsjou¹,

Mar²

2019

Psychology of Aesthetics, Creativity, and the Arts

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Shipping, which refers to emotional investment in fictional relationships, has been occurring for decades yet has not received much theoretical or any empirical attention. In light of it becoming more recognized in mainstream culture, we wanted to establish whether interest in fictional relationships is a relevant, intriguing, and meaningful form of media engagement. To do this we ran one exploratory study, one preregistered confirmatory replication, and one preregistered extension. Together, these three studies answered several questions: (a) Are people interested in fictional relationships?; (b) Who is likely to be interested?; (c) Why are individuals interested?; and (d) Is interest in fictional relationships a distinct form of media engagement? We found that emotional investment in fictional couples is somewhat common and occurs across a number of media platforms. Being more inclined to think about relationships and have more romantic beliefs was linked to interest in fictional relationships, which reflects a general inclination to focus on relationships. We were also able to demonstrate moderate correlations between relationship interest and other media engagement variables-namely parasocial relationships, narrative transportation, character identification, and celebrity worship-in addition to showing that interest in fictional relationships provides incremental prediction after controlling for these other types of media engagement. These three studies support the notion that relationship interest is a unique and important form of media engagement that is related to individuals' romantic cognition.

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Section: Shipping and Interest In Fictional Couplesmentioning

confidence: 99%

Interest and investment in fictional romances.

Monsjou¹,

Mar²

2019

Psychology of Aesthetics, Creativity, and the Arts

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“…Figure 3 illustrates how effortlessly Merlin can slide along the homosocial–homosexual continuum, making feasible a reading of the programme’s homosexual subtext. It is a ‘slash manip’ (see Brennan, 2014b) from my own practice (posted under my LiveJournal pseudonym chewableprose). The work digitally manipulates a screen capture from V.1 that includes gratuitous shots of the men working shirtless, as described earlier.…”

Section: Percival/gwaine: Validated Queer Potential In Merlinmentioning

confidence: 99%

Queerbaiting: The ‘playful’ possibilities of homoeroticism

Brennan

2016

International Journal of Cultural Studies

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This article explores the concept of ‘queerbaiting’, a term employed by media fans to criticise homoerotic suggestiveness in contemporary television when this suggestiveness is not actualised in the program narrative. I confront the negative connotations of the term and point to the agency of audiences, using the practices of ‘slash fans’ within the Merlin fandom as my case study. I trace definitions of queerbaiting in recent scholarly work and suggest comparison with another term, ‘hoyay’, which has more positive connotations. My central argument is that as this concept begins its inevitable permeation into academic work, worth considering are the queer readings that ‘queerbaiting’ in fact make possible, even plausible, which is an understanding of the term that is in line with the ‘poaching’ and ‘playful’ spirit of media fandom.

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“…This includes artwork and ‘repurposed media’ such as vids (remixed digital footage) and digitally manipulated photographs known as ‘manips’ (manipulated images). Although the vast majority of vids (for a discussion, see Turk, 2011) and manips (for a discussion, see Brennan, 2013) deal with adult characters, when the face of a child character is spliced onto an adult body in a pornographic pose or setting, this can be classified as ‘pseudo child pornography’. Indeed there is currently a case going through the courts in Victoria, Australia, concerning the artist Paul Yore who had inserted the face of a young Justin Bieber into an artwork that also contained images from adult pornography ( Herald Sun , 2013).…”

Section: Young People ‘Playing’ With Sexmentioning

confidence: 99%

‘Not in front of the parents!’ Young people, sexual literacies and intimate citizenship in the internet age

McLelland

2016

Sexualities

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Clause 13 of the United Nations Convention on the Rights of the Child states that children have the right 'to seek, receive or impart information and ideas of all kinds, regardless of frontiers, either orally, in writing or in print, in art or in any other media of the child's voice'. However, there is one area in which this directive is constrained in various countries by domestic regulations curtailing children's access to information. That area is human sexuality. The arguments for and against children's access to sex education are well rehearsed. In this article, the author pursues a different angle, looking instead at the increasing restrictions placed upon young people's ability to imagine and communicate with each other about sexual issues, particularly in online settings. The advent of the internet and a range of social networking sites have not only enabled young people to access previously quarantined information about sexuality, but also to actively engage in forms of 'intimate citizenship' online. In this article, the author focuses on young people's online fan communities which use characters from popular culture such as Harry Potter or a range of Japanese manga and animation to imagine and explore sexual issues. 'Child abuse publications legislation' in Australia and elsewhere now criminalizes the representation of even imaginary characters who are or may only 'appear to be' under the age of 18 in sexual scenarios. Hence these children and young people are in danger of being charged with the offence of manufacturing and disseminating child pornography. Despite research into these fandoms that indicates that they are of positive benefit to young people in developing 'sexual literacies', there is increasingly diminishing space for young people under the age of 18 to imagine or communicate about sexuality, even in the context of purely fictional scenarios.

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Not ‘from my hot little ovaries': how slash manips pierce reductive assumptions

Cited by 9 publications

References 28 publications

Interest and investment in fictional romances.

Interest and investment in fictional romances.

Queerbaiting: The ‘playful’ possibilities of homoeroticism

‘Not in front of the parents!’ Young people, sexual literacies and intimate citizenship in the internet age

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