El Síndrome de la Lesbiana MuertaMecanismos de autorregulación del "fandom" LGBTI en las polémicas fan-productor de la serie "The 100"

  1. Guerrero-Pico, Mar 1
  2. Establés, Maria-José 1
  3. Ventura, Rafael 1
  1. 1 Universitat Pompeu Fabra
    info

    Universitat Pompeu Fabra

    Barcelona, España

    ROR https://ror.org/04n0g0b29

Aldizkaria:
Anàlisi: Quaderns de comunicació i cultura

ISSN: 0211-2175,  2340-5236

Argitalpen urtea: 2017

Zenbakia: 57

Orrialdeak: 29-46

Mota: Artikulua

DOI: 10.5565/REV/ANALISI.3110 DIALNET GOOGLE SCHOLAR lock_openDDD editor

Beste argitalpen batzuk: Anàlisi: Quaderns de comunicació i cultura

Laburpena

This article explores the mechanisms of fans self-regulation in conflict situations with the showrunners. Conflict situations are encouraged by the unfair treatment that LGBTQ characters receive in TV series, including the so-called Dead Lesbian Syndrome: a narrative cliché that implies a tragic ending for the LGBTQ female characters. In our study, which is methodologically based on reception studies and discourse analysis, we analyse the boycott campaign organized by lesbian and bisexual fans of The 100 (The CW, 2014-) after the death, in the third season, of a charismatic lesbian character: Commander Lexa (Alycia Debnam-Carey). The results show that fans use the fear of industry reprisals, strategic thinking and the positive portrayal of LGBTQ characters as argumentative strategies designed to contain the action of toxic fans that harass showrunners in social networks, and to protect the social labor of fan activism.

Erreferentzia bibliografikoak

  • BANDURA, A. (2011). «Social cognitive theory». En: P. A. M. VAN LANGE; A. W. KRUGLANSKI; E. TORY HIGGINS (eds.). Handbook of social psychological theories. Londres: Sage, 349-373.
  • BRENNAN, J. (2016). «Queerbaiting: The “playful” possibilities of homoeroticism». [En línea]. International Journal of Cultural Studies. <https://doi.org/10.1177/1367877916631050>
  • BOND, B. J.; HEFNER, V.; DROGOS, K. L. (2009). «Information-seeking practices during the sexual development of lesbian, gay, and bisexual individuals: The influence and effects of coming out in a mediated environment». Sexuality & Culture, 13 (1), 32-50.
  • CIASULLO, A. M. (2001). «Making her (in) visible: Cultural representations of lesbianism and the lesbian body in the 1990s». Feminist Studies, 2 (3), 577-608.
  • COLLIER, N. R.; LUMADUE, C. A.; WOOTEN, H. R. (2009). «Buffy the vampire slayer and Xena: warrior princess: Reception of the texts by a sample of lesbian fans and web site users». Journal of Homosexuality, 56 (5), 575-609.
  • CHIN, B.; HITCHCOCK MORIMOTO, L. (2013). «Towards a theory of transcultural fandom». [En línea]. Participations, 10 (1), 92-108. <http://www.participations. org/Volume%2010/Issue%201/7%20Chin%20&%20Morimoto%2010.1.pdf> [Fecha de consulta: 31/05/2017].
  • DOWNING, G. (2013). «Virtual youth: non-heterosexual young people’s use of the internet to negotiate their identities and socio-sexual relations». Children’s Geographies, 11 (1), 44-58.
  • ESTABLÉS-HERAS, M. J.; RIVERA-PINTO, D. (2015). «“Ministéricos” en Twitter y Whatsapp, o cómo el poder de los fans puede mover montañas». En: C. CASCAJOSA VIRINO (ed.). Dentro de El Ministerio del Tiempo. Madrid: Léeme Editores, 211-218.
  • EVANS, V. D. (2007). «Curved TV: The impact of televisual images on gay youth». American Communication Journal, 9 (3), 7-17.
  • FRANCISCO, A.; GONZÁLEZ DE GARAY, B.; LOZANO, M.; TRAVER, J. (2016). «“The quiero, maldita sea”. Lectura crítica de los discursos mediáticos del amor lésbico en Tierra de Lobos (Telecinco: 2010-2014)» [En línea]. Lectora, 22.
  • FEJES, F.; PETRICH, K. (1993). «Invisibility, homophobia and heterosexism: Lesbians, gays and the media». Critical Studies in Mass Communication, 10 (4), 396422.
  • FUCHS, C. (2014). Social Media: A Critical Introduction. Londres: Sage.
  • GLADD (2016). «Where We Are on TV Report 2015-16» [En línea]. GLAAD. <https://www.glaad.org/whereweareontv15> [Fecha de consulta: 31/05/2017].
  • GOMILLION, S. C.; GIULIANO, T. A. (2011). «The influence of media role models on gay, lesbian, and bisexual identity». Journal of Homosexuality, 58 (3), 330-354.
  • GONZALEZ, V. M. (2016). «Swan Queen, shipping, and boundary regulation in fandom» [En línea]. Transformative Works and Cultures, 22. <https://doi.org/10.3983/twc.2016.0669>
  • GROSS, L. (1991). «Out of the Mainstream: Sexual Minorities and the Mass Media» [En línea]. Journal of Homosexuality, 21 (1), 19-46.
  • GUERRERO PICO, M. (2016). «Dimensional expansions and shiftings: Fan fiction and transmedia storytelling in the Fringeverse» [En línea]. International Journal of TV Serial Narratives, 2 (2), 73-85 <https://series.unibo.it/article/view/6593> [Fecha de consulta: 31/05/2017].
  • GUERRERO PICO, M. (2017). «#Fringe, Audiences, and Fan Labor: Twitter Activism to Save a TV Show from Cancellation» [En línea]. International Journal of Communication, 11. <http://ijoc.org/index.php/ijoc/article/view/4020> [Fecha de consulta: 31/05/2017].
  • HANMER, R. (2014). «“Xenasubtexttalk”, The impact on the lesbian fan community through its online reading and writing of lesbian fan fiction in relation to the television series Xena: Warrior Princess». Feminist Media Studies, 14 (4), 608-622.
  • HILLS, M. (2015). «Veronica Mars, fandom, and the ‘Affective Economics’ of crowdfunding poachers». New Media & Society, 17 (2), 183-197.
  • HOGAN, H. (2016). «Autostraddle’s Ultimate Infographic Guide to Dead Lesbian Characters on TV» [En línea]. Autostraddle. <https://www.autostraddle.com/ autostraddles-ultimate-infographic-guide-to-dead-lesbian-tv-characters-332920/> [Fecha de consulta: 31/05/2017].
  • JACKSON, S.; GILBERTSON, T. (2009). «Hot Lesbians’: Young People’s Talk About Representations of Lesbianism». Sexualities, 12 (2), 199-224.
  • JENKINS, H. (1992). Textual poachers: Television fans and participatory culture. Nueva York, NY: Routledge.
  • JENKINS, H. (2006). Convergence Culture: Where Old and New Media Collide. Nueva York, NY: Routledge.
  • LGBT FANS DESERVE BETTER. (2016). «Broadcast Network: 2015-2016» [En línea]. LGBT Fans Deserve Better. <https://lgbtfansdeservebetter.com/broadcast-network-tv-2015-2016/> [Fecha de consulta: 31/05/2017].
  • LGBT FANS DESERVE BETTER. (s.f.). «Fundaiser» [En línea]. LGBT Fans Deserve Better. <https://lgbtfansdeservebetter.com/broadcast-network-tv-2015-2016/> [Fecha de consulta: 31/05/2017].
  • MARSHAL, M. P.; DIETZ, L. J.; FRIEDMAN, M. S.; STALL, R.; SMITH, H. A.; MCGINLEY, J.; THOMAG, B. C.; MURRAY, P. J.; D’AUGELLI, A. R.; BRENT, D. A. (2011). «Suicidality and depression disparities between sexual minority and heterosexual youth: A meta-analytic review». Journal of Adolescent Health, 49 (2), 115-123.
  • MASANET, M. J.; BUCKINGHAM, D. (2015). «Advice on life? Online fan forums as a space for peer-to-peer sex and relationships education». Sex Education, 15 (5), 486-499.
  • MILLWARD, L.; DODD, J. G.; FUBARA-MANUEL, I. (2017). Killing Off the Lesbians: A Symbolic Annihilation on Film and Television. Carolina del Norte: McFarland.
  • NAPOLI, P. M.; KOSTERICH, A. (2017, en prensa). «Measuring Fandom: Social TV Analytics and the Integration of Fandom into Television Audience Measurement». En: J. GRAY; C. SANDVOSS; C. L. HARRINGTON (eds.). Fandom: Identities and Communities in a Mediated World. 2ª ed. Nueva York, NY: NYU Press.
  • PIESTER, L. (2016). «The 100 Boss Apologizes For How Lexa Died in Open Letter to Fans» [En línea]. E! News. <http://www.blastr.com/2016-3-8/why-100sshowrunner-just-lost-15k-followers-and-why-it-matters> [Fecha de consulta: 18/09/2017].
  • PROCTOR, W. (2017). «“Bitches Ain’t Gonna Hunt No Ghosts”: Totemic Nostalgia, Toxic Fandom and the Ghostbusters Platonic». Palabra Clave, 20 (4), 1105-1041.
  • RALEY, A. B.; LUCAS, J. L. (2006). «Stereotype or success? Prime-time television’s portrayals of gay male, lesbian, and bisexual characters». Journal of Homosexuality, 51 (2), 19-38.
  • RICH, A. (1980). «Compulsory heterosexuality and lesbian existence». Signs: Journal of Women in Culture and Society, 5 (4), 631-660.
  • RYAN, M. (2016). «Why the Controversial Death on ‘The 100’ Matters» [En línea]. Variety. <http://variety.com/2016/tv/columns/the-100-lexa-dead-clarke-relationship-13-1201722916/> [Fecha de consulta: 18/09/2017].
  • ROTH, D. (2016). CWhy The 100’s showrunner just lost 15k followers, and why it matters» [En línea]. Blastr. <http://www.blastr.com/2016-3-8/why-100s-showrunner-just-lost-15k-followers-and-why-it-matters> [Fecha de consulta: 31/05/2017].
  • SAVAGE, C. (2014). «Chuck versus the ratings: Savvy fans and “Save Our Show” campaigns» [En línea]. Transformative Works and Cultures, 15. <https://doi.org/10.3983/twc.2014.0497>
  • SCARDAVILLE, M. C. (2005). «Accidental activists: Fan activism in the soap opera community». American Behavioral Scientist, 48, 881-901.
  • STANFILL, M. (2013). «They’re Losers, but I Know Better: Intra-Fandom Stereotyping and the Normalization of the Fan Subject». Critical Studies in Media Communication, 30 (2), 117-134.
  • VAN DEN BULCK, H.; CLAESSENS, N.; MAST, J.; KUPPENS, A. (2016). «Representation of fandom in mainstream media: Analysis of production and content of Flemish television’s Superfans». European Journal of Cultural Studies, 19 (6), 513528.
  • VENTURA, R. (2016). «Tendencias de investigación sobre la heteronormatividad en los medios de comunicación». Opción, 32 (10), 932-952.
Datuen iturria: Dialnet