dc.contributor.author | Ruotsalainen, Maria | |
dc.date.accessioned | 2022-03-21T12:00:06Z | |
dc.date.available | 2022-03-21T12:00:06Z | |
dc.date.issued | 2022 | |
dc.identifier.citation | Ruotsalainen, M. (2022). “Cute Goddess is Actually an Aunty” : The Evasive Middle-Aged Woman Streamer and Normative Performances of Femininity in Video Game Streaming. <i>Television and New Media</i>, <i>23</i>(5), 487-497. <a href="https://doi.org/10.1177/15274764221080962" target="_blank">https://doi.org/10.1177/15274764221080962</a> | |
dc.identifier.other | CONVID_104550869 | |
dc.identifier.uri | https://jyx.jyu.fi/handle/123456789/80278 | |
dc.description.abstract | In this paper the focus is on the representations of “middle-aged” or “aging” women streamers in western media. I analyze discussions in Western online media around a case of Chinese DouYu live-streamer. “Qiaobiluo Dianxia,” as her streamer name goes, became a topic in Western media after a glitch in her live stream revealed her to be a middle-aged woman, rather than young woman she was assumed to be. The discussions are analyzed with critical discourse analysis. It is argued that the aging bodies of women, both their presence and absence, should be read and understood through toxic gaming culture and geek masculinity and the hegemonic discourse they constitute. | en |
dc.format.mimetype | application/pdf | |
dc.language.iso | eng | |
dc.publisher | SAGE Publications | |
dc.relation.ispartofseries | Television and New Media | |
dc.rights | In Copyright | |
dc.subject.other | streaming | |
dc.subject.other | video games | |
dc.subject.other | gender | |
dc.subject.other | critical discourse analysis | |
dc.subject.other | age | |
dc.subject.other | Twitch | |
dc.title | “Cute Goddess is Actually an Aunty” : The Evasive Middle-Aged Woman Streamer and Normative Performances of Femininity in Video Game Streaming | |
dc.type | research article | |
dc.identifier.urn | URN:NBN:fi:jyu-202203211976 | |
dc.contributor.laitos | Musiikin, taiteen ja kulttuurin tutkimuksen laitos | fi |
dc.contributor.laitos | Department of Music, Art and Culture Studies | en |
dc.type.uri | http://purl.org/eprint/type/JournalArticle | |
dc.type.coar | http://purl.org/coar/resource_type/c_2df8fbb1 | |
dc.description.reviewstatus | peerReviewed | |
dc.format.pagerange | 487-497 | |
dc.relation.issn | 1527-4764 | |
dc.relation.numberinseries | 5 | |
dc.relation.volume | 23 | |
dc.type.version | publishedVersion | |
dc.rights.copyright | © The Author(s) 2022 | |
dc.rights.accesslevel | openAccess | fi |
dc.type.publication | article | |
dc.relation.grantnumber | 312397 | |
dc.subject.yso | ikä | |
dc.subject.yso | diskurssianalyysi | |
dc.subject.yso | videopelit | |
dc.subject.yso | sukupuoli | |
dc.subject.yso | sukupuoliroolit | |
dc.subject.yso | suoratoistopalvelut | |
dc.subject.yso | nettivideot | |
dc.subject.yso | pelikulttuuri | |
dc.subject.yso | naisellisuus | |
dc.format.content | fulltext | |
jyx.subject.uri | http://www.yso.fi/onto/yso/p1229 | |
jyx.subject.uri | http://www.yso.fi/onto/yso/p7829 | |
jyx.subject.uri | http://www.yso.fi/onto/yso/p17281 | |
jyx.subject.uri | http://www.yso.fi/onto/yso/p5291 | |
jyx.subject.uri | http://www.yso.fi/onto/yso/p928 | |
jyx.subject.uri | http://www.yso.fi/onto/yso/p38586 | |
jyx.subject.uri | http://www.yso.fi/onto/yso/p22834 | |
jyx.subject.uri | http://www.yso.fi/onto/yso/p25376 | |
jyx.subject.uri | http://www.yso.fi/onto/yso/p927 | |
dc.rights.url | http://rightsstatements.org/page/InC/1.0/?language=en | |
dc.relation.doi | 10.1177/15274764221080962 | |
dc.relation.funder | Research Council of Finland | en |
dc.relation.funder | Suomen Akatemia | fi |
jyx.fundingprogram | Centre of Excellence, AoF | en |
jyx.fundingprogram | Huippuyksikkörahoitus, SA | fi |
jyx.fundinginformation | This research was supported by the Academy of Finland project Centre of Excellence in Game Culture Studies (CoE-GameCult, 312397). | |
dc.type.okm | A1 | |