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queerqueenLinguistic Excess in Japanese Media$
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Claire Maree

Print publication date: 2020

Print ISBN-13: 9780190869618

Published to Oxford Scholarship Online: August 2020

DOI: 10.1093/oso/9780190869618.001.0001

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PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2020. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 19 September 2020

Bleeping Deluxe

Bleeping Deluxe

Staging Self-Censorship and the Limits of Excess

Chapter:
(p.116) (p.117) 5 Bleeping Deluxe
Source:
queerqueen
Author(s):

Claire Maree

Publisher:
Oxford University Press
DOI:10.1093/oso/9780190869618.003.0006

Chapter 5 examines the visual and sonic mapping of excess onto the queerqueen figure through layering of censorship tropes such as redaction characters (fuseji) and pixelization onto audiovisual media. Censorship tropes index complex histories of the use of language and images in the public sphere. Manipulation of censorship tropes exposes discourses of discrimination that shape language use in the media. This chapter analyzes the use of censorship beeps in the late-night television show Matsuko no heya (Matsuko’s Room; Fuji Television Network) hosted by Matsuko Deluxe, a contemporary queerqueen superstar who gained mainstream popularity in the early 2000s. The show pivots on staged (im)politeness and a pretense of low-cost production and minimal editorial effects. In Matsuko no Heya, self-censorship edited into the footage (re)creates Matsuko’s image as a sharp-tongued, honest-speaking, entertaining personality. It simultaneously (re)creates Matsuko’s linguistic performance of gender and sexuality as that which already exceeds the limits of respectability.

Keywords:   self-censorship, commodification, censorship, speech, hyper-masculine style, broadcasting ethics, discriminatory language, scandalous talk, (im)politeness, redaction characters (fuseji)

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