Staging Self-Censorship and the Limits of Excess
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.
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