Imagenes de los f4 y jandi5/18/2023 Myanmar in Love in Bangkok portrays a contemporary migrant situation: It is a love story between a male Burmese migrant worker and a Thai woman played by Kaew Korravee, a Thai leading actress who has become famous in Myanmar because of her portrayal of this modern and unconventional character. Both films have already been exhibited in Thailand and Myanmar and have gained a huge following in both countries. This paper explores representations of identities and fandom in two Southeast Asia border-crossing films, Myanmar in Love in Bangkok (2014) and From Bangkok to Mandalay (2016). Our work suggests that although appearances are important manifestations of gender identity across both American and East Asian cultures, certain cultural contexts might allow children more freedom in expressing their gender identity through appearances. Coding various popular Hong Kong and American magazines revealed that men in Hong Kong magazines were depicted with more female-typed appearances than were men in U.S. Study 3 examined whether these differences among boys were represented in broader society through media representations. boys exhibited greater appearance rigidity than did boys in Hong Kong. Indeed, although appearance rigidity was observed among children in Hong Kong, U.S. Based on cultural differences in systems of thought (e.g., more acceptance of contradictions in East Asian culture) and East Asian popular culture promoting softer forms of masculinity, we expected appearance rigidity to be greater in the United States than in Hong Kong. Studies 1 and 2 investigated whether appearance rigidity could also be observed in an East Asian culture (Hong Kong) and whether regional differences might be found. However, research on appearance rigidity largely has been limited to the United States, raising questions on whether appearance is a fundamental aspect of gender development. ![]() ![]() Many young children often exhibit a strong desire to wear extremely gender-typed clothing (appearance rigidity), reflecting their emerging gender identities. Ultimately, although these forms of masculinity may seem more progressive in terms of gender identity, it still reinforces patriarchy and heteronormativity. This paper explores East Asian dramas where one of the main characters is an identified female who disguises themselves as a male, and looks at dynamics of representation of soft masculinity in conjuncture with homosocial/homoerotic/homosexual relationships. Although these dramas vary in the presentation of gender and sexuality, they all support patriarchal, heteronormative standards. ![]() To examine how gender, sexuality, and romance is portrayed within the context of gender-swapping, this paper examines the following shows: Coffee Prince (2007), You're Beautiful (2009), To the Beautiful You (2012), and Bromance (2015-2016). Unfortunately, these shows often fail to undermine heteronormative society. Several Japanese, Korean, and Taiwanese television shows feature a genderbending female lead. Crossdressing and gender performativity carry an enigmatic fascination that entraps the curiosity of audiences. In contemporary popular culture it can be seen in manga, anime, live-action movies, Asian dramas, and even in music. Implications of this alternative to traditional masculinity are discussed, as well as directions for future research into the world of the “flower boy” trend in contemporary mass media.Ĭrossdressing as a popular form of entertainment, via print, film, or theater has been a mainstay attraction in East Asian countries for centuries. A textual analysis of this television series identified transformation stories that appear in main male characters’ individual and collective storylines and portrayals that evidence the “new man” in Korea popular culture, one that contradicts hegemonic masculinity which emphasized strength, toughness, and unequal gender status: (a) men as egalitarian, (b) men as expressive best friends to women, and (c) violence repurposed to defend women against misogynistic males. An additional framework employs the image of the “flower boy,” a new persona in Korean and other Asian youth cultures that emphasizes a more feminized male body and male interest in grooming and fashion. This study investigates how a popular South Korean soap opera, known as K-drama (“Korean drama”), titled Boys Over Flowers offers portrayals of both hegemonic and counterhegemonic masculinity reflective of Korean tradition and incorporating aspect of hegemonic masculinity found in Western culture.
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