Accusations implying Bronies are immature men or sexual predators provide enough rationale for outsiders to find contempt in these fans. Venetia Robertson suggests that many of these adverse reactions toward the Brony community result from, “an assumption that there is something sick, wrong, or ‘creepy’ about the way Bronies subvert expectations surrounding gender, age, and the consumption of media.” The “unnaturalness” of Bronies somehow merits the ridicule they receive because they supplant commonly held assumptions of gender.
Suppositions of “creepiness” that Robertson refers to are a contributing factor to the stigma surrounding Bronies. Drawing contrasts between the intended audience and a subsection of the audience who engages in the
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That paradox presents a dilemma for many people who cannot comprehend how gender is not a fixed definition and how people have a tendency to polarize their notions of gender.
One of the ways opposition to the fandom accomplishes this accusation of deviancy is by suggesting Bronies are the problem rather than the media text. Claims stating that the show is not meant for men are, as Jones indicates, a supporting point the opposition uses to rationalize their
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Ewan Kirkland acknowledges both the productive points of the fans while also showing compassion toward the community and the challenges they face. “While high profile media institutions have expressed revulsion towards this audience, more sympathetic commentators have pointed to the friendly inclusivity of the fandom, its creativity, and the ways in which Bronies are challenging the gender boundaries of popular culture
Despite this growth in mainstream recognition, a sizeable negative reaction against the Brony fandom exists. A number of media outlets openly criticize Bronies as social outcasts who are attracted to a “deviant lifestyle.” Several pundits say they feel confusion and disgust at the notion of young adult men enjoying something marketed toward young girls between the ages of four and ten. As Madeline Davies points out, the fandom does not receive a lot positive reports about their events from either the media or society at large: Much like the press, the public hasn 't exactly been kind to the brony. At best, the subculture gets written off as extremely dorky—a group of fedora-sporting nerds who live in their parents ' basements and spend all their time watching cartoons, making fan art and getting into pedantic arguments about My Little Pony on the internet.
In addition to the Brown’s lack of success, my personal identity, my social connections, and different cultural forces have caused my personal Browns fandom to become what it is today. Fiske argues that fandom is “a heightened form of popular culture in industrial societies and that the fan is an ‘excessive reader’ who differs from the ‘ordinary’
(Brennan, 18) Not only does Miss Piggy show feminism, but The Muppet Show passes the Bechdel test as a show with feminism. Through the article readers can see that Miss Piggy is a character that represents feminism as well as being a role
When attending week 5 small group session we collectively shared our media pleasures with each other this helped me compare and contrast my paper with my peers. As we shared I realized that my guilty media pleasure related to many of my peers. There were two girls in particular that I related to. The first girl I talked to named Jenna guilty media pleasure is Broadway productions. Jenna Identified her taste culture as being the typical sorority girl would usually listen to mainstream pop music.
Feeling a sense of belonging or acceptance is important for a number of people. Certain social media platforms can help create a sense of community amongst complete strangers. While the accounts that become extremely popular are often helpful and successful in achieving the goal of acceptance, the way that they become popular involves following the norms and becoming the same as everyone else. In “Trans on YouTube,” Laura Horak describes the media phenomenon of having an intimate conversation to a large quantity of people using a YouTube vlog as a platform. Horak comes to the conclusion that this particular phenomenon ultimately can save lives for not only the producer, but also the viewer.
If one gives their time and love to fandoms, there is a copious amount of love being returned, along with rewarding connections between like-minded people. While they might often be interpreted as hysterical or dissociative with real life, fandoms are actually a diverse and welcoming group of people that accept others as friends and family and provide support where the people they know in real life can’t help. Although the full acceptance of fan culture into society is a big step and it seems that that goal is not reasonable to reach in the near future, if both ends of society can work towards it, both will reap the benefits of a more open and loving
The film portrays males as stubborn and closed minded. But they should be open to ideas and other opinions. In the film, the examples can be found by most masculine characters. One of the male character that showed this was Shrek. This protagonist falls in love with Fionna, and later he overhears Fiona and Donkey talk about how awful it is to be an ogre.
Gender Stereotypes in Comics If you were to ask the average person about their opinion on comic books, surely they would respond that comics are a harmless form of entertainment for adolescents. After examining the depictions of both males and females in Guardians of the Galaxy and The Mighty Avengers, it is apparent that this is not the case. To truly understand how these gender stereotypes affect the adolescents who are subject to them, it is important to examine the gender stereotypes that comics portray, whether they are explicit or implicit, whether they have a positive or negative affect, and if there are any gender stereotypes presented in comics that are counter to the norm.
“Fans of a popular television series [and/or film] may sample dialogue, summarize episodes, debate subtexts, create original fan fiction, record their own soundtracks, and make their own movies” (Jenkins, 2004, 34). The variety of these media and cultural texts produced and may be produced from the participative fandom culture as a new form of cultural artifacts also contributes to the fan’s
Gender roles and stereotypes are commonly known throughout society and continuously demonstrated as film as well. Through the work of director Judd Apatow, we can compare these stereotypes to the portrayal of gender in Knocked Up and identify how this film pokes fun at gender stereotypes. As we watch this film and follow the story line of Allison and Ben, we can see how Apatow reversed the gender roles of the two lead characters, Ben and Allison and how this effected the films meaning. In romantic, geek centered comedies such as “Knocked Up”, the roles of men and women are often reversed.
Roughly half of the population goes through a point in their lives during which their viewpoints are overlooked. These are all women, whose opinions are usually ignored throughout their teenage years due to stereotypes. People fail to see their other traits and strengths because of the “single story”, a concept presented by Chimamanda Adichie, that all teenage girls are consumed with their own image. A teen girl’s single story can be seen through the character Candace Flynn in the children’s show Phineas and Ferb, created by Jeff Marsh and Dan Povenmire. The show is about two boys, Phineas and Ferb, who want to do interesting things over the summer, so they build outrageous devices in their backyard.
Second, Fandoms on social networking sites can be considered to be a subculture, due to it’s development of separate vocabulary, values, and behaviors. The first modern fandom was the original Sherlock Holmes in 1887. It was plainly seen when many started to have public memorials for their beloved character, after his “death” in the book the Final Problem. Many within the
Since the first fandoms, many fanatics have joined together to create a unique and safe environment for themselves and their peers to escape to. Although to the outside world, fandoms seem chaotic and cultish, in reality, they create a community that encourages socializing, deeper thinking, mental health, and physical activity. Fandoms are groups made of people with the same passions or hobbies, that are brought together because of their shared passions of the media. Nowadays media fandoms focus on the utilization of and involvement with shows, comic books, and movies. People join fandoms to be more involved in their favorite shows and to create new friendships.
By imbuing the ‘male’ body with feminine beauty and sensibilities, the “bishōnen can be read as a figure of resistance: both to the notion that biology is destiny and to the correlation between biology and gender role”. Through its problematizing of social concepts such as ‘masculinity’ and ‘femininity’, as well as the gender binary itself, the foundations upon which the patriarchal society is built on are questioned. In addition, the androgyny of bishōnen characters also allow female readers to see them “not just as ideal lovers or partners, but in a sense as their ideal selves”. The BL manga thus, in its depiction of feminine boys, allow women to “picture [themselves] as separate from the sexist roles assigned to [them] by the family system” and indulge in the fantasy of loving a man “as an equal, free of predefined gender
The fan is primarily a reader, who might actively engage with a text by writing fan fiction. As fans are readers first, who might revisit their favorite texts again and again through reading or writing fan fictions, I primarily employ literary theories of reading and interpretation. Reader response theory offers a concept of active reading that is applicable here: it tends to emphasise reading as an activity which changes over time (Bertens 96). Hans Bertens summarizes the phenomenological position reader response criticism takes: “Since we cannot with absolute certainty know that we know the outside world, we must focus on how that world appears to our senses and is constituted by our consciousness” (96). Instead of the ‘real’ world, in studying fan fiction we look at the textual world and how readers experience and respond to