"Yes, the Evil Queen is Latina!": Racial dynamics of online femslash fandoms

Online media or participatory fandom has long been theorized as a unique creative and communicative space for women. Further, scholarly work has highlighted the possibility of it functioning as a space that is conducive to the articulation of queerness—both through transformative work and participan...

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Bibliographic Details
Main Authors: Rukmini Pande, Swati Moitra
Format: Article
Language:English
Published: Organization for Transformative Works 2017-06-01
Series:Transformative Works and Cultures
Subjects:
TV
Online Access:https://dx.doi.org/10.3983/twc.2017.0908
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spelling doaj-caa93ee34f734a4485cd278d65a50de22021-07-02T10:00:38ZengOrganization for Transformative WorksTransformative Works and Cultures1941-22581941-22582017-06-0124https://doi.org/10.3983/twc.2017.0908"Yes, the Evil Queen is Latina!": Racial dynamics of online femslash fandomsRukmini Pande0Swati Moitra1University of Western Australia, Perth, AustraliaJawaharlal Nehru University, New Delhi, IndiaOnline media or participatory fandom has long been theorized as a unique creative and communicative space for women. Further, scholarly work has highlighted the possibility of it functioning as a space that is conducive to the articulation of queerness—both through transformative work and participant identity. However, this theorization has failed to account for the differential operations of these spaces when they are forced to deal with issues of race and racism. This essay argues that this is a significant blind spot as fannish spaces cannot but negotiate with the multiple loci of privilege and intersectional concerns that underpin their functioning. It therefore proposes a significant intervention in the study of the same, drawing our attention to the historically queer and oft-sidelined fannish spaces of femslash fandoms. This analysis seeks to locate the ways in which such queer spaces grapple with critiques of misogyny and homophobia in popular cultural texts and online spaces, as well as the problematics of race and racial identity within such spaces, focusing on the queer fan community built around the relationship of Regina Mills and Emma Swan, eponymously known as Swan Queen, in the television show Once Upon a Time (2011–).https://dx.doi.org/10.3983/twc.2017.0908Fan communityFan fictionIntersectionalityQueernessRaceTV
collection DOAJ
language English
format Article
sources DOAJ
author Rukmini Pande
Swati Moitra
spellingShingle Rukmini Pande
Swati Moitra
"Yes, the Evil Queen is Latina!": Racial dynamics of online femslash fandoms
Transformative Works and Cultures
Fan community
Fan fiction
Intersectionality
Queerness
Race
TV
author_facet Rukmini Pande
Swati Moitra
author_sort Rukmini Pande
title "Yes, the Evil Queen is Latina!": Racial dynamics of online femslash fandoms
title_short "Yes, the Evil Queen is Latina!": Racial dynamics of online femslash fandoms
title_full "Yes, the Evil Queen is Latina!": Racial dynamics of online femslash fandoms
title_fullStr "Yes, the Evil Queen is Latina!": Racial dynamics of online femslash fandoms
title_full_unstemmed "Yes, the Evil Queen is Latina!": Racial dynamics of online femslash fandoms
title_sort "yes, the evil queen is latina!": racial dynamics of online femslash fandoms
publisher Organization for Transformative Works
series Transformative Works and Cultures
issn 1941-2258
1941-2258
publishDate 2017-06-01
description Online media or participatory fandom has long been theorized as a unique creative and communicative space for women. Further, scholarly work has highlighted the possibility of it functioning as a space that is conducive to the articulation of queerness—both through transformative work and participant identity. However, this theorization has failed to account for the differential operations of these spaces when they are forced to deal with issues of race and racism. This essay argues that this is a significant blind spot as fannish spaces cannot but negotiate with the multiple loci of privilege and intersectional concerns that underpin their functioning. It therefore proposes a significant intervention in the study of the same, drawing our attention to the historically queer and oft-sidelined fannish spaces of femslash fandoms. This analysis seeks to locate the ways in which such queer spaces grapple with critiques of misogyny and homophobia in popular cultural texts and online spaces, as well as the problematics of race and racial identity within such spaces, focusing on the queer fan community built around the relationship of Regina Mills and Emma Swan, eponymously known as Swan Queen, in the television show Once Upon a Time (2011–).
topic Fan community
Fan fiction
Intersectionality
Queerness
Race
TV
url https://dx.doi.org/10.3983/twc.2017.0908
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