From the content analysis of 23 "classic" gay porn videos, produced by Falcon Studios, the emergence of the Falcon formula---a pornographic model of sex---is described in this thesis. This formula is analyzed with regard to the feminist critique of pornography and the assertions of gay advocates. Although the Falcon formula supports the feminist perspective with respect to the representations of sex practices, the linkage between femininity and getting fucked, as indicated by Dworkin, was not found in the selected Falcon videos. In fact, Falcon videos subvert this linkage by depicting masculine men fucking other masculine men. And, in accord with the claims of gay advocates, Falcon videos largely represent gay men having sex as opposed to straight men having homosexual sex. The Falcon formula appears to have developed not only in reaction to stigmatizing stereotypes of effeminate gay men and in reaction to the linkage between femininity and getting fucked, but also in response to the fantasy (of gay viewers) of being accepted into an exclusively male community.

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"耽美"来源于日本，是以女性读者群为主要受众、描写男性与男性之间浪漫关系或性关系的文学或艺术作品，也被称为BL（Boy’s Love）。喜爱耽美的女性爱好者被称为"腐女"。耽美文化自1990 年代后期随着日本流行文化进入中国，至今已在中国网络空间中逐渐发展成为一个主要由女性网民所组成的，包含文本创作、阅读与交流的文化圈。与此同时，耽美文化的流行亦引发了中国当下种种对性与性别问题的思考。 / 本研究将耽美文化解译为"女性幻想男男之爱"的欲望结构，从精神分析幻想理论与酷儿理论的视角来考察中国网络中的耽美文化现象。论文所围绕的一个问题是，耽美文化与中国社会文化中的性/别话语产生了怎样的关系，以及如何从腐女的耽美幻想中搭建起与现实性/别政治的联系。研究首先分析了两类网络耽美小说文本，分别来看它们与1990年代以后的"男同性恋"身份话语，和2000年代以后对"中国古典文化"想象之间的吸收、挪用与再创造；其次以网络腐女圈的论坛讨论与配对狂欢为对象，研究网络耽美式恶搞对官方媒体、主流男性形象和异性恋规范的权威所潜在的颠覆性；最后以2011年一桩"腐女被抓案"新闻报道为契机，来观察耽美文化与网络淫秽色情审查的纠葛、冲突与可能的出路。 / 欲望幻想的流动性决定着它边界的模糊与开放，以及它承载、影响乃至侵扰"现实"秩序的功能。因此，作为一种女性的男性同性情欲幻想，本研究视耽美文化最引人注目的地方不在于其本身的出现与流行程度，而在于它与各种性/别话语的相互建构与矛盾冲突。此外，在对幻想文本、网络话语以及腐女群体的调查中，本研究也期待探索某种"酷儿"政治在中国网络文化中生产的可能性。 / Boy’s love (BL in short; danmei in Chinese) is a Japanese term for female-oriented fictional media, which focuses on love, sex and romance between beautiful androgynous boys or young men. Apart from the gay self-representations, BL is a genre of male homoeroticism by and for mostly heterosexual women. In China, the BL fans call themselves "Fu Nu", which means "rotten girl", to describe their enthusiasm for fantasizing male homosexuality. BL originated from Japanese amine, comic and game youth culture, and has since become a transnational phenomenon all over the world with a global fan base. As such, the phenomenon of boy’s love had already aroused a lot of discussions in relation to ideologies of gender and sexuality from different cultural and social perspectives. BL fandom in China’s culture context with its "Chinese characteristics" also deserves particular attention, when it opens up a fantastic space for Chinese woman to practice their sexuality beyond non-heterosexual norms. / However there is limited work that considers the queer sexuality of female BL fans in China, in relation to the queer texts and queer discourses they create. There is also little research that explores the capacity of boy’s love netizens to resist the on-going internet surveillance by the Chinese government of information deemed ‘sexually inappropriate’ and outside the heterosexual norm. Therefore there remains a paucity of studies that examine the political potentialities of anti-homophobic and queer discourses of sexuality as manoeuvred by the Chinese BL fan base that continue to populate online communities. Based on previous studies about the phenomenon of boy’s Love in China, this paper analyses the queer politics of the online BL fandom in terms of the interactions between BL and the other gender and sexuality discourses on the Chinese Internet. It will be argued that the online BL fandom opens up a virtual space for girls and young women to author practice their male homosexual fantasies. Moreover, it will be maintained that boy’s love appropriates the queerness from the different sides of cyber culture into its narrative fantasies, thus forming a queer continuum made up with the conflicts, complicities and political potentialities of the gender and sexuality on the Chinese internet. This paper concludes with an analysis of the ambiguous relation of BL with Chinese Internet censorship, and traces the capacities of boy’s love netizens in subverting and resisting government surveillance of what it terms ‘obscene’ information. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 周舒燕. / Thesis (Ph.D.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves 151-162). / Abstracts also in English. / Zhou Shuyan.

This thesis explores Roman Catholic and secular responses to sexual imagery in popular culture. The Catholic and socio-philosophical responses may be subdivided according to specific ideal types to elucidate the major ideological and ethical movements operative within these two hermeneutical traditions. I use the media luminary Madonna as a case study to illustrate the inadequacy of much that Catholic and secular cultural critics have written about religiously ambiguous and sexually provocative popular culture phenomena. Typically, secular critics neglect the religious implications of such phenomena, while Catholic critics overlook their ideological implications. I shall demonstrate both that hermeneutical exclusivity weakens the two major approaches and that only methodologies which take seriously both Catholic and secular insights are appropriate for analyzing this aspect of popular culture.

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“From Brecht to Butler: An Analysis of Dirty Grrrls” is a production centered thesis focusing on the image of the mudflap girl. The study examines the graduate production Dirty Grrrls as a form of praxis intersecting the mudflap girl, the theory of gender performativity, and Brechtian methodology. As a common yet unexplored symbol of hypersexual visual culture in U.S. American society, the mudflap girl acts as a relevant subject matter for both the performance and written portion of the study. Through the production, mudflap girl materializes at the meeting point of the terms performance and performativity. The written portion of this project examines this intersection and discusses the productive cultural work accomplished on the page and on the stage via live embodiment of performativity.

Thesis (Ph.D.)--University of Melbourne, School of Political Science, Criminology and Sociology (Criminology) 2008. / Typescript. Includes bibliographical references.

Thesis (MPhil)-- Stellenbosch University, 2014. / ENGLISH ABSTRACT: Pornography in South Africa has only been legal for a mere 16 years, but is preceded by a 126-year history of inutile South African government attempts to suppress and curb it at its borders. To date, pornography as a research field has been largely overlooked by South African researchers, who have either mostly opted to choose fields that are socially more acceptable, or assumed that pornography was not present in the country before the 1980s and 1990s. This research, however, prefers to differ. The study investigates a minute part of a broader scope of pornography history in South Africa, by studying what international and domestic pornographic magazines were first seized and thereafter banned in the country between 1939 and 1989. By theoretically implementing an authoritative theoretical framework, the Annales’s functional structural approach, and applying the historical methodology to unearth unobtrusive historical data, the study compiles a narrative of events that ties a 50-year history of the pornographic magazine in South Africa together. The study eventually identifies 1 033 individual volumes, editions and issues of various pornographic magazine genres, including, among others, pulp and pin-up, naturist and nudist, soft-core, hard-core, male and female homosexual, bisexual, bondage, Asian, female impersonation and biker magazines, of which some, of course, are local South African pornographic magazines. / AFRIKAANSE OPSOMMING: Pornografie is nog net 16 jaar wettig in Suid-Afrika en word voorafgegaan deur ’n geskiedenis van 126 jaar se sensuur wat deur die regering afgekondig is om pornografie buite die land se grense te hou. Tot op hede is pornografie as ’n navorsingsveld deur Suid-Afrikaanse navorsers oorgesien omdat hulle óf studies aanpak wat sosiaal meer aanvaarbaar is, óf aanneem dat daar voor die 1980’s en 1990’s geen pornografie in die land was nie. In dié verband wil hierdie studie met dié aannames verskil. Die navorsing ondersoek ’n klein deeltjie van ’n groter geskiedenis van pornografie in Suid-Afrika deur te kyk na watter buitelandse en binnelandse pornografiese tydskrifte tussen 1939 en 1989 in die land gevind en kort daarna verban is. Teoreties is die outoritêre en die Annales se funksionalisties-strukturalistiese raamwerk ingespan, en die historiese metodologie is gebruik om historiese data na te vors om ’n narratief saam te stel wat 50 jaar se pornografiese tydskrifte in Suid-Afrika saamsnoer. Die studie identifiseer uiteindelik 1 033 uitgawes van verskeie porno-grafiese tydskrifte, wat, onder meer, pulp- en prikkelpop-, nudistiese, sagte, harde, manlike en vroulike homoseksuele, biseksuele, knegskap-, Asiër-, fopdosser- en motorfietstydskrifte insluit; sommige van dié genres is, natuurlik, ook plaaslik in Suid-Afrika gepubliseer.