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Fans speak for whom? Imagined ‘official’, internalised hegemony and self-censorship
15 references·0 citing·47 second hop
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References

  • 2010Cultural Studies in the Future Tense496 cited
  • 2018China's Digital Nationalism284 cited
  • 2008Fandom: Identities and Communities in a Mediated World211 cited
  • 2009Co-creative labour187 cited
  • 2011Participatory media fandom: A case study of anime fansubbing158 cited
  • 2022Fan Conflicts and State Power in China: Internalised Heteronormativity, Censorship Sensibilities, and Fandom Police68 cited
  • 2021More than K-pop fans: BTS fandom and activism amid COVID-19 outbreak52 cited
  • 2019Lovesick, The Series: adapting Japanese ‘Boys Love’ to Thailand and the creation of a new genre of queer media51 cited
  • 2019The Yaoi Phenomenon in Thailand and Fan/Industry Interaction47 cited
  • 2022Dual ambivalence: The Untamed Girls as a counterpublic42 cited
  • 2023Boys Love Media in Thailand40 cited
  • 2016Danmei, Xianqing, and the making of a queer online public sphere in China38 cited
  • 2021Hyperreal homoerotic love in a monarchized military conjuncture: a situated view of the Thai Boys’ Love industry23 cited
  • 2024Inter-Asia referencing and orientalist consideration of the transnational fandom of Thai boys’ love drama in Japan14 cited
  • 2023Thai Boys Love drama fandom as a transnational and trans-subcultural contact zone in Japan

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