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Moreover, in the case of both parody and camp, this playful subversion is focused particularly on cultural items that contain strongly identified gender type.(Kinsella 304) Since most of these parodies of traditional depictions of Japanese masculinity are penned by young women, the most marginalized figures in Japanese society, it seems a critique of the traditional roles represented by older generations is taking place.

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This is neither a scene from cutting edge queer cinema nor the milieu of a Hollywood fetish club, but rather an average episode of the wildly popular 2006 Japanese animated television series engages two important aesthetic traditions, both of which explicitly question traditional sexualities and gender roles, the queer practice of camp and the fan practice of parody.

[...] This aspect of the amateur manga sense of parody is similar to aspects of the Anglo-American sensibility of camp.

Both of these cultural modes are based on the subversion of meanings carried in original, and frequently iconic, cultural items.

The second pivots on a more practical concern: began to gain popularity during a period when the very suggestion of sexualization of the adolescent female was considered highly taboo, thus making it impossible to depict erotic relationships between heterosexual teenagers and forcing the to utilize (specifically male) homosexual pairings if she wished to deal with physical relationships. It suggests that adolescent girls, afraid to face their own burgeoning sexuality, cope with their new found impulses and desires by projecting them onto a male character, thereby making the sexual conduct in characters, and letters from predominately female readers describing fantasies of male-male and occasionally female-female desire, suggests that a clear correlation was taking place between the beautiful boys and their readers (857).

One reader notes that she has decided, based on reading a number of Oê Chizuka, for instance, explains that she turned to these manga given the lack of representations of female-female desire and that she "really identified with or saw [herself] in [manga] works by people like Hagio Moto and Takemiya Keiko." [...] Activist, scholar, and manga fan Mizoguchi Akiko goes further, declaring that she "'became' a lesbian via reception, in [her] adolescence, of the 'beautiful boy' comics of the 1970s." (843) continue to be a site of identity formations that challenge Japan's patriarchal heteronormativity.

Thus, while seems innocuous (and often even somewhat condescending toward both fan culture and cross-dressing), its engagement with these fundamentally disruptive traditions suggests a subtle undermining of Japanese patriarchal and heteronormative traditions.

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