When web culture enters academic vision, it is also the time to indicate the existence of girl-oriented subculture. In this new field, China can be a special example in many ways, and this makes Chinese girl-oriented subculture an interesting topic.
First, a large part of girl-oriented subculture I discuss here is inherited from Japan, including the terms such as “danmei” and “fujoshi”. The different is, Japanese girl subculture started before the Internet age, while the growing up of Chinese girl-oriented subculture cannot separated from the thriving of Internet. Both danmei and fujoshi connect with Japanese Dojin culture that generated in the late 19 century (Wang 2008). “Dojin” in Japanese is people who share the same interest, or fans of …show more content…
Females have already become not only the main consumer group of popular culture, but also the main force of re-creation. Many phenomena can convince this argument. For example, “selling bromance (卖腐)” already becomes common in popular culture. It literarily means pretending homosexual romance to attract more audiences or fans. A TV series can “selling bromance” by adding more plots about interaction between two good-looking male characters; a TV show can “selling bromance” by showing brotherhood between stars, and adding effects to emphasize romance atmosphere in the post-production; male stars can “selling bromance” in front of their fans by having intimate moves with stars in same gender. “Selling bromance” attracts female audiences by evoking their imagination of bromance, letting them to separate the products into their subculture circle, creating fandom works, and in turn attracts more audiences. This indicates the target audiences of these popular cultural products are female, especially those creative participants of girl-oriented subculture. In other words, popular culture market is consciously seeking the support of girl-oriented subculture by providing materials for re-creation, which more or less proves the influence of girl-oriented …show more content…
Instead of confining it with theories, I prefer to start from what I am familiar with, and displaying their value to the academic world.
The first chapter is on female writing, the important type of creation in girl-oriented subculture. I do not obsessed on the literary value of online literature, but entry from the impact of official censorship. When the censorship pays more and more attention on online literature, it shows that the influence of online literature is booming. Especially, after a female author of girl’s channel was arrested, the online writing that by female and for female stood out. Starting from this case, I hope to find out the unique features of girl’s channel works, and introspect the fantasy that hides inside the writing.
In the second chapter, I focus on the platforms of girl-oriented fandom. With my own experience as clue, I mainly introduce the popular platforms of two periods： Baidu Tieba as one of the origins of female fandom, and the combination of Weibo and Lofter after 2014 censorship. I intend to describe the situation that girl-oriented subculture exists in the form of circle, and why do the participants of subculture feel it necessary to keep their interests inside the
First, a large part of girl-oriented subculture I discuss here is inherited from Japan, including the terms such as “danmei” and “fujoshi”. The different is, Japanese girl subculture started before the Internet age, while the growing up of Chinese girl-oriented subculture cannot separated from the thriving of Internet. Both danmei and fujoshi connect with Japanese Dojin culture that generated in the late 19 century (Wang 2008). “Dojin” in Japanese is people who share the same interest, or fans of …show more content…
Females have already become not only the main consumer group of popular culture, but also the main force of re-creation. Many phenomena can convince this argument. For example, “selling bromance (卖腐)” already becomes common in popular culture. It literarily means pretending homosexual romance to attract more audiences or fans. A TV series can “selling bromance” by adding more plots about interaction between two good-looking male characters; a TV show can “selling bromance” by showing brotherhood between stars, and adding effects to emphasize romance atmosphere in the post-production; male stars can “selling bromance” in front of their fans by having intimate moves with stars in same gender. “Selling bromance” attracts female audiences by evoking their imagination of bromance, letting them to separate the products into their subculture circle, creating fandom works, and in turn attracts more audiences. This indicates the target audiences of these popular cultural products are female, especially those creative participants of girl-oriented subculture. In other words, popular culture market is consciously seeking the support of girl-oriented subculture by providing materials for re-creation, which more or less proves the influence of girl-oriented …show more content…
Instead of confining it with theories, I prefer to start from what I am familiar with, and displaying their value to the academic world.
The first chapter is on female writing, the important type of creation in girl-oriented subculture. I do not obsessed on the literary value of online literature, but entry from the impact of official censorship. When the censorship pays more and more attention on online literature, it shows that the influence of online literature is booming. Especially, after a female author of girl’s channel was arrested, the online writing that by female and for female stood out. Starting from this case, I hope to find out the unique features of girl’s channel works, and introspect the fantasy that hides inside the writing.
In the second chapter, I focus on the platforms of girl-oriented fandom. With my own experience as clue, I mainly introduce the popular platforms of two periods： Baidu Tieba as one of the origins of female fandom, and the combination of Weibo and Lofter after 2014 censorship. I intend to describe the situation that girl-oriented subculture exists in the form of circle, and why do the participants of subculture feel it necessary to keep their interests inside the