The "Y" phenomenon: dystopia, utopia, and heterotopia in Thai boys love media.
In the past decade, Thai Boys Love (BL) media has gained phenomenal popularity in Asia in the form of film and drama series, garnering considerable interest from scholars of cultural studies, gender studies, and media studies. Using frame analysis, this article traces the evolution of Thai BL themes...
| Publicado en: | Inter-Asia Cultural Studies Vol. 26; no. 6; pp. 1086 - 1105 |
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| Autores principales: | , |
| Formato: | Essay |
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Taylor & Francis Ltd
Dec2025
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=189876427&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 189876427 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 14649373 B8U jtl: Inter-Asia Cultural Studies issn: 14649373 maglogo: N pubinfo: dt: Dec2025 vid: 26 iid: 6 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 189876427 10.1080/14649373.2025.2458385 ppf: 1086 ppct: 19 formats: fmt: – @attributes: type: T – @attributes: type: P size: 447KB tig: atl: The "Y" phenomenon: dystopia, utopia, and heterotopia in Thai boys love media. aug: au: Chan, Ying-kit Lee, Tong King affil: Department of Chinese Studies, National University of Singapore, Singapore School of English, University of Hong Kong, Hong Kong su: Dystopias Utopias Film series Cultural studies Asia sug: subj: Asia Dystopias Utopias Film series Cultural studies keyword: Chronotope dystopia frame analysis Thai Boys Love (BL) timespaces utopia ab: In the past decade, Thai Boys Love (BL) media has gained phenomenal popularity in Asia in the form of film and drama series, garnering considerable interest from scholars of cultural studies, gender studies, and media studies. Using frame analysis, this article traces the evolution of Thai BL themes from cinematic dystopia into small-screen utopia, i.e. from the tragic (dystopia) to the heart-warming (compromised utopia), and to the comic and hyperreal (utopia). We understand post-2014 BL productions as subsisting within a specific frame that breaks with that of pre-2014 Thai homoerotic films before BL series became mainstream. Frames are chronotopic in the Bakhtinian sense; they are timespaces in which spatial and temporal indicators are fused into one carefully thought-out, concrete whole. Applying this to the case at hand, one may observe as follows: temporally, the post-2014 BL frame encompasses adolescence or young adulthood; spatially, it invokes the high school, senior high school, or university as microcosms of an idealized or romanticized pre-society characterized by childlike innocence, parental (usually maternal) approval, and homosocial relations. This article thus proposes a spectrum of affective readings from dystopia to utopia to critically understand the popular reception of Thai BL and explain why some of them are better received than others. pubtype: Academic Journal doctype: Essay src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Inter-Asia Cultural Studies is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Inter-Asia Cultural Studies holder: Taylor & Francis Ltd dt: @attributes: year: 2025 holdings: @attributes: islocal: N |
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