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Cited by

• 2012The common sense that makes the ‘otaku’: rules for consuming popular culture in contemporary Japan62 cited
• 2012The Jimusho System: Understanding the Production Logic of the Japanese Entertainment Industry61 cited
• 2012The Virtual Idol: Producing and Consuming Digital Femininity56 cited
• 2011Post‐3/11 Japan and the Radical Recontextualization of Value: Music, Social Media, and End‐Around Strategies for Cultural Action35 cited
• 2008The virtual ideal: Virtual idols, cute technology and unclean biology35 cited
• 2012Idols: The Image of Desire in Japanese Consumer Capitalism29 cited
• 2012From Boys Next Door to Boys’ Love: Gender Performance in Japanese Male Idol Media26 cited
• 2012Johnny’s Idols as Icons: Female Desires to Fantasize and Consume Male Idol Images25 cited
• 2016Babymetal and the ambivalence of cuteness19 cited
• 2022“Wrap You Up in My Blue Hair”: Vocaloid, Hyperpop, and Identity in “Ashnikko Feat. Hatsune Miku – Daisy 2.0”19 cited
• 2016Embodied Kawaii: Girls’ voices in J-pop16 cited
• 2017Amber Liu, K-Pop Tomboy: Reshaping Femininity in Mainstream K-Pop13 cited
• 2024Child idols in South Korea and beyond: Manufacturing young stars at the intersection of the K-pop and influencer industries7 cited