Sakura ga meijiru—Unlocking the Shōjo Wardrobe: Cosplay, Manga, 2.5D Space

King, Emerald L.

doi:10.1007/978-3-030-01485-8_10

Cited by 3 publications

(2 citation statements)

References 9 publications

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“…(Jacobs 2013, pp. 22-24) In my own work, I have written on the links between sho jo ("girlhood") space, as theorized by Honda Masuko, and cosplay (see King 2016King , 2019b. Honda speaks of girlhood as taking place in a liminal "bower" where delicate hot house flowers are able to bloom freely among "ribbons, frills or even, lyrical word chains [which] flutter in the breeze as symbols of girlhood" (Masuko 2010, pp.…”

Section: Terms and Conditionsmentioning

confidence: 99%

Creating the Body Beautiful Cosplay: Crossdressing, Cosplay, and Hyper Femininity/Hyper Masculinity

King

2023

Gender in Japanese Popular Culture

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In dressing up and performing cosplay (costume play), practitioners will often change their appearance using wigs, makeup, layered shoes, and fantastic costumes. Increasingly, cosplay practitioners of all genders will use various means to alter the way their bodies look, adding curves or muscles with padding and binding or tucking away unwanted bulges. In addition to scholarly sources, this chapter will also make use of the commentary on gender, race, and body type posted by cosplay practitioners on public, global social media platforms such as Instagram and Twitter in order to understand what constitutes the “perfect” or ideal cosplay body—if, indeed, such a thing exists. Rather than asking why these cosplayers dress up as their favorite characters from popular culture, the focus here will be on examining the ways in which cosplayers create their costumes. While many cosplay practitioners buy or commission their garments from online stores, the focus here is on cosplayers who create their own costumes for the purpose of taking part in competitions. This chapter will explore how cosplay practitioners sculpt the body beautiful cosplay and what the challenges may be in portraying in 2D superheroes and magical girls in a 2.5D or 3D reality.

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Section: Terms and Conditionsmentioning

confidence: 99%

Creating the Body Beautiful Cosplay: Crossdressing, Cosplay, and Hyper Femininity/Hyper Masculinity

King

2023

Gender in Japanese Popular Culture

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“…At the same time, it is important to note that shōjo and josei aesthetics are "increasingly removed from social representation" (Berndt 2019, 1-2) and closer to fantasy spaces of gendered, female, and feminine revelry (Andlauer 2018). Shōjo and josei aesthetics mediates and convey meanings (Monden 2019), modes of address (Antononoka 2019;Unser-Schutz 2019), agency (King 2019;Norris 2019) in fantasy spaces (Andlauer 2018). However, it should be noted that while these depictions may not entirely mirror real-life Japanese girls and young women, they do impose a specific set of behaviors and potential actions in media reproducing them.…”

Section: Kioku No Dizorubu: Female Subservience To Male Charactersmentioning

confidence: 99%

To (Sub)Serve Man. Role Language and Intimate Scripts in Kioku no Dizorubu

Bruno

2023

bsfm-lea

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Japanese Adult Computer Games engage players in immersive narrative experiences centred on intimate interactions with anime-manga characters. Within these games, players are encouraged to develop parasocial phenomena as an integral aspect of the gameplay loop. The language employed during character interactions plays a pivotal role in shaping these parasocial phenomena, establishing specific roles, expectations, and the potential for their confirmation or subversion. This paper examines the systems of stylized character idiolects typical of anime-manga media – referred to as yakuwarigo by Kinsui 2017, 2003 – and explores how these linguistic elements embed gendered roles in the women-oriented video game Kioku no Dizorubu.

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La Robe à la Française et la Robe l’Odalisque: Wearing women’s clothing in The Rose of Versailles

King

2021

Studies in Costume &Amp; Performance

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The androgynous heroine of Ikeda Ryoko’s manga The Rose of Versailles (1972–73), Oscar Françoise de Jarjayes, is usually depicted in masculine, specifically military, attire. The sixth daughter of an important military colonel during the reign of Louis XV and Louis XVI, Oscar is raised as a son and follows her father into the military. Oscar is only ever depicted in one dress, known as the robe l’odalisque – a gown that is adopted at a pivotal moment of character development. It is while wearing this dress, which Ikeda intended to serve as a wedding dress, that Oscar comes to terms with her unrequited love for Marie Antoinette’s lover, Count Axel von Fersen. In doing so, Oscar places more importance on her allegiance to France than to romance. This article investigates the complicated gender and social politics that are symbolized by the choice to wear women’s clothing in The Rose of Versailles.

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Sakura ga meijiru—Unlocking the Shōjo Wardrobe: Cosplay, Manga, 2.5D Space

Cited by 3 publications

References 9 publications

Creating the Body Beautiful Cosplay: Crossdressing, Cosplay, and Hyper Femininity/Hyper Masculinity

Creating the Body Beautiful Cosplay: Crossdressing, Cosplay, and Hyper Femininity/Hyper Masculinity

To (Sub)Serve Man. Role Language and Intimate Scripts in Kioku no Dizorubu

La Robe à la Française et la Robe l’Odalisque: Wearing women’s clothing in The Rose of Versailles

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