耽美剧的传播与审查 ：对当代亚文化社群的详细观察 = Dissemination and censorship in boys' love drama : a detailed observation of subcultural group

• Main Author: 黄宇璇 Wee, Yu Xuan
• Other Authors: Ting Chun Chun
• Format: Final Year Project
• Language: Chinese
• Published: Nanyang Technological University 2021
• Subjects: Humanities::Literature::Chinese
• Online Access: https://hdl.handle.net/10356/146992
• Institution: Nanyang Technological University

90年代耽美文化从日本传入中国大陆，随着网络的飞速发展，耽美文化广泛的传播与社群的扩大，让耽美文化成为了入侵主流文化的一股亚文化势力。2016年后，耽美剧因为大陆严厉的审查制度，被迫改为叙述“兄弟情”的耽改剧，但《陈情令》的成功也意味着耽改剧依旧满足了女性对耽美的诉求。 耽美社群的自治模式展现了社群的组织性与政治能动性，但有时却会为了维护社群生存的空间，进行比审查制度更为严厉的自我阉割。此外，耽美社群对文本创作的参与度以及与制片方之间的互动都体现了亚文化群体在权力上的转变。 In the 1990s, BL culture was introduced from Japan to mainland China. With the rapid development of the Internet, the wide spread of BL culture and the expansion of the community made BL culture a subcultural force that invaded mainstream culture. After 2016, BL drama was forced to change to bromance drama because of the strict censorship system in the mainland. However, the success of "The Untamed" also means that bromance drama still satisfies women's demands for BL. The self-governing model of the BL community shows the organization and political initiative of the community, but sometimes it also conducts more severe self-castration than the censorship system to maintain the living space of the community. In addition, the participation of the BL community in text creation and the interaction with the producers all reflect the transformation of the power of subcultural groups.