Final published version
Licence: CC BY-NC-ND: Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License
Research output: Contribution to Journal/Magazine › Journal article › peer-review
Research output: Contribution to Journal/Magazine › Journal article › peer-review
}
TY - JOUR
T1 - Queer Media from the Global South
T2 - The Emerging Girls Love (GL) Industry of Southeast Asia
AU - Li, Eva Cheuk-Yin
AU - Pang, Ka-Wei
PY - 2024/11/29
Y1 - 2024/11/29
N2 - This article examines the recent rise of Girls Love (GL) media featuring women’s same-sex romance, produced in Thailand. While Boys Love (BL) media has gained mainstream attention since the mid-2010s, GL has received less industrial and scholarly attention. Despite Thailand’s relatively long history of producing BL television series for the global audience, its first GL series, GAP (Thai: ทฤษฎีสีชมพู, “Pink Theory”) premiered only in 2022. The success of GAP has sparked an increase in GL productions and the formation of a transnational fandom largely consisting of queer women. In 2023, two GL series aired. By August 2024, eight full-length series and two mini-series had aired and finished, with several a few more currently ongoing. Through a preliminary discourse analysis of the GL series broadcast by August 2024 and media interviews of creators, this article explores how the GL media industry charts a new path in queer media, despite its commercial underpinning and references to the production and marketing practices of BL.
AB - This article examines the recent rise of Girls Love (GL) media featuring women’s same-sex romance, produced in Thailand. While Boys Love (BL) media has gained mainstream attention since the mid-2010s, GL has received less industrial and scholarly attention. Despite Thailand’s relatively long history of producing BL television series for the global audience, its first GL series, GAP (Thai: ทฤษฎีสีชมพู, “Pink Theory”) premiered only in 2022. The success of GAP has sparked an increase in GL productions and the formation of a transnational fandom largely consisting of queer women. In 2023, two GL series aired. By August 2024, eight full-length series and two mini-series had aired and finished, with several a few more currently ongoing. Through a preliminary discourse analysis of the GL series broadcast by August 2024 and media interviews of creators, this article explores how the GL media industry charts a new path in queer media, despite its commercial underpinning and references to the production and marketing practices of BL.
KW - Series Y
KW - Women-loving-women (WLW)
KW - Femslash
KW - Fandom
KW - Real-person ship
KW - Gap the series
KW - FreenBecky
KW - Y industry
KW - Thailand
U2 - 10.1080/14680777.2024.2433564
DO - 10.1080/14680777.2024.2433564
M3 - Journal article
JO - Feminist Media Studies
JF - Feminist Media Studies
SN - 1468-0777
ER -