Abstract
Practices of online censorship around boys’ love (danmei) in mainland China have exhibited continuous change, with varying media targets and nominal justifications. This article explores dynamic transformations in the strategies employed by authorities, media platforms, and danmei creators throughout different time periods. Based on the authors’ archival research, the censorship of danmei can be classified into three distinct stages: the years 2004 to 2015, 2016 to 2020, and 2021 to the present. These periods are distinguished by the primary danmei media form that authorities most often target for censorship. We argue that China’s digital censorship apparatus has given rise to an unrelenting and intensifying suppression of danmei content, which is further bolstered by the sustained promotion of a media discourse that fosters a culture of disdain for danmei, and hence, has limited spaces for the expansion of danmei fandom and its practitioners’ creativity. Moreover, we suggest that there is a continuous and combative interplay between danmei culture and censorship, wherein creative practices become highly responsive to government regulations and vice versa.
| Original language | English |
|---|---|
| Pages (from-to) | 229-238 |
| Number of pages | 10 |
| Journal | Continuum-Journal of media & cultural studies |
| Volume | 38 |
| Issue number | 2 |
| Early online date | 22 May 2024 |
| DOIs | |
| Publication status | Published - 2024 |
Keywords
- Boys' love
- danmei
- censorship
- queer
- China
- web drama
- online literature
- digital media