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‘C’mon, No One Wants a Dick Pic’: exploring the cultural framings of the ‘Dick Pic’ in contemporary online publics

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‘C’mon, No One Wants a Dick Pic’: exploring the cultural framings of the ‘Dick Pic’ in contemporary online publics. / Waling, Andrea; Pym, Tinonee.
In: Journal of Gender Studies, Vol. 28, No. 1, 02.01.2019, p. 70-85.

Research output: Contribution to Journal/MagazineJournal articlepeer-review

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Waling A, Pym T. ‘C’mon, No One Wants a Dick Pic’: exploring the cultural framings of the ‘Dick Pic’ in contemporary online publics. Journal of Gender Studies. 2019 Jan 2;28(1):70-85. Epub 2017 Nov 29. doi: 10.1080/09589236.2017.1394821

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Bibtex

@article{0e750b9d1fc24253948ae0e2aaf1d63d,
title = "{\textquoteleft}C{\textquoteright}mon, No One Wants a Dick Pic{\textquoteright}: exploring the cultural framings of the {\textquoteleft}Dick Pic{\textquoteright} in contemporary online publics",
abstract = "The {\textquoteleft}dick pic{\textquoteright} (DP) has become a growing cultural phenomenon in the digital realm, attracting increasing commentary regarding why men send them, with women{\textquoteright}s responses constituting online social movements. Emerging research concerning the practice of DPs has been incredibly limited, with discussion focused on youth sexting practices and online harassment more broadly. However, research focusing specifically on the gendered dynamics of heterosexual boys{\textquoteright} and men{\textquoteright}s engagement with DPs is significantly absent, and there has been no attempt to explore how the DP is framed in public commentary. We draw from a qualitative content analysis of social media and digital news articles, comics and blogs discussing the {\textquoteleft}dick pic{\textquoteright}, highlighting four major ways in which the {\textquoteleft}dick pic{\textquoteright} is framed. These include: assumptions regarding men{\textquoteright}s motivations, women{\textquoteright}s production of {\textquoteleft}counterpublics{\textquoteright} and feminist resistance to the DP, satirical and humourous responses to DPs, and positive and transformative responses involving the active solicitation of men{\textquoteright}s DPs. We argue that such responses work to interpret and address men{\textquoteright}s behaviours, but lack critical consideration regarding their underlying motives and the roles DPs might have in relation to their sexual subjectivities. We conclude with a discussion of the implications of such responses and calls for future research.",
keywords = "Sexuality, bodies, dick pics, digital media, masculinity, sexting",
author = "Andrea Waling and Tinonee Pym",
year = "2019",
month = jan,
day = "2",
doi = "10.1080/09589236.2017.1394821",
language = "English",
volume = "28",
pages = "70--85",
journal = "Journal of Gender Studies",
issn = "0958-9236",
publisher = "Routledge",
number = "1",

}

RIS

TY - JOUR

T1 - ‘C’mon, No One Wants a Dick Pic’

T2 - exploring the cultural framings of the ‘Dick Pic’ in contemporary online publics

AU - Waling, Andrea

AU - Pym, Tinonee

PY - 2019/1/2

Y1 - 2019/1/2

N2 - The ‘dick pic’ (DP) has become a growing cultural phenomenon in the digital realm, attracting increasing commentary regarding why men send them, with women’s responses constituting online social movements. Emerging research concerning the practice of DPs has been incredibly limited, with discussion focused on youth sexting practices and online harassment more broadly. However, research focusing specifically on the gendered dynamics of heterosexual boys’ and men’s engagement with DPs is significantly absent, and there has been no attempt to explore how the DP is framed in public commentary. We draw from a qualitative content analysis of social media and digital news articles, comics and blogs discussing the ‘dick pic’, highlighting four major ways in which the ‘dick pic’ is framed. These include: assumptions regarding men’s motivations, women’s production of ‘counterpublics’ and feminist resistance to the DP, satirical and humourous responses to DPs, and positive and transformative responses involving the active solicitation of men’s DPs. We argue that such responses work to interpret and address men’s behaviours, but lack critical consideration regarding their underlying motives and the roles DPs might have in relation to their sexual subjectivities. We conclude with a discussion of the implications of such responses and calls for future research.

AB - The ‘dick pic’ (DP) has become a growing cultural phenomenon in the digital realm, attracting increasing commentary regarding why men send them, with women’s responses constituting online social movements. Emerging research concerning the practice of DPs has been incredibly limited, with discussion focused on youth sexting practices and online harassment more broadly. However, research focusing specifically on the gendered dynamics of heterosexual boys’ and men’s engagement with DPs is significantly absent, and there has been no attempt to explore how the DP is framed in public commentary. We draw from a qualitative content analysis of social media and digital news articles, comics and blogs discussing the ‘dick pic’, highlighting four major ways in which the ‘dick pic’ is framed. These include: assumptions regarding men’s motivations, women’s production of ‘counterpublics’ and feminist resistance to the DP, satirical and humourous responses to DPs, and positive and transformative responses involving the active solicitation of men’s DPs. We argue that such responses work to interpret and address men’s behaviours, but lack critical consideration regarding their underlying motives and the roles DPs might have in relation to their sexual subjectivities. We conclude with a discussion of the implications of such responses and calls for future research.

KW - Sexuality

KW - bodies

KW - dick pics

KW - digital media

KW - masculinity

KW - sexting

U2 - 10.1080/09589236.2017.1394821

DO - 10.1080/09589236.2017.1394821

M3 - Journal article

VL - 28

SP - 70

EP - 85

JO - Journal of Gender Studies

JF - Journal of Gender Studies

SN - 0958-9236

IS - 1

ER -