Creative Misreadings of “Thai BL” by a Filipino Fan Community: Dislocating Knowledge Production in Transnational Queer Fandoms Through Aspirational Consumption

Creative Misreadings of "Thai BL" by a Filipino Fan CommunityDislocating Knowledge Production in Transnational Queer Fandoms Through Aspirational Consumption Thomas Baudinette (bio) While browsing the internet one night in late December 2014, I encountered a Thai television soap opera, or lakhon, named Lovesick: The Series. As a scholar of Japanese queer popular culture who investigates boys love (hereafter BL), a genre of homoerotic media produced and consumed primarily by heterosexual women,1 I quickly recognized that Lovesick conformed to the generic tropes associated with classic Japanese BL texts.2 Unbeknownst to me at the time, I had serendipitously stumbled upon an emerging genre of popular culture known in Thailand as "series wai."3 But in 2015, as I scoured the internet to learn more about this intriguing series, I came across English-language fan spaces on Facebook where Lovesick was being discussed as representative of a phenomenon that fans called "Thai BL."4 Curious, I began to observe these English-language fansites for "Thai BL" and determined that the majority of the people participating in the space were young Filipino men and women and that most sites were curated and administrated by Filipino men who identified as gay. In fact, the Philippines has emerged as an important space for fandom of so-called Thai BL, a point recently recognized by Philippine media.5 As I observed such fan sites over several years, it became increasingly apparent that the Filipino men and women participating in this fandom viewed BL as fundamentally Thai and that they actively attempted to differentiate it from what they called "Japanese yaoi."6 For these fans, BL was positioned as a form of Thai popular culture and was therefore understood to be categorically not Japanese. Previous work exploring the transnational circulation of BL has tended to advance theory which firmly centers Japan within its analysis, exploring how "culturally Japanese" products such as BL are adapted or "glocalized" to new contexts.7 Many of these studies draw upon Koichi Iwabuchi's seminal exploration of the transnational circulation of Japanese popular culture throughout East and Southeast Asia in the late 1990s.8 Iwabuchi develops a sophisticated End Page 101 framework for understanding how the "cultural odor" of a product—that is, a product's recognizability and desirability based in its embeddedness or centering within a specific cultural context—plays an influential role in its reception. Iwabuchi further contends that the Japanese government has played an active role in bolstering the Japanese "cultural odor" of certain popular culture products such as anime and manga by essentializing what he terms Japan's "national brand."9 Throughout his scholarship, Iwabuchi calls upon scholars to "re-center" Japan within processes of globalization and to draw upon this re-centering of Japan as a space for critical reflection on the politics of transnational cultural flow. In so doing, Iwabuchi suggests, scholars can account for the influence of national producers on the reception of Japanese cultural products outside Japan.10 Iwabuchi's theories of transnational flow are useful in understanding the processes of adaption when a Japanese cultural product such as BL leaves Japan and enters a new national space. But Iwabuchi's theories become less useful for understanding how a glocalized product further transnationalizes and potentially develops new meanings and associations through this process. Iwabuchi's insistence on "centering" analysis on the point of production (i.e., Japan) thus fails to account for situations when the so-called cultural odor of Japan is diminished or even extinguished. Furthermore, Iwabuchi's emphasis on critical reflection based in "centering" analysis on Japan may lead one to conclude that consumers who fail to recognize the "Japaneseness" of a cultural product such as BL are somehow "mistaken." While I am broadly sympathetic to Iwabuchi's scholarly project, I am concerned by his criticisms of fans whose reading practices are positioned as "misunderstanding" Japan's role in the production of the texts that they consume. Like Bertha Chin and Lori Morimoto, I am also troubled by Iwabuchi's conflation of nation and culture and his lack of engagement with the intensely affective nature of fannish consumption.11 Taking inspiration from Eve Sedgwick's call to read data through...