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PreCure (2018-2019) . Using queer theory and gender studies research, this thesis argues that the magical boy figure challenges problematic forms of masculinity by performing what I call ‘shōjoness,’ a particular form of feminine aesthetic mainly found in shōjo (for girls) manga, and anime. The thesis contends that henshin (transformation) sequences allow a space for gender negotiation, which disrupts a heteronormative structure through the crossing, and blending, of gender expression and form. Acting as what Sedgwick calls a queer survival object (1993), the magical boy becomes a site for queer representation, but also what I call a queering device. In other words, this thesis argues that Majorian and Hugtto serve as escapes from the burden of heteronormativity, while also holding to some extent the power to inspire change in attitudes toward queerness within, and beyond the pages of the manga, or the screen of anime. Analyzing key scenes from both works mentioned above, this thesis explores how medium specificity (manga structure, and animation techniques) renders queerness by contrasting it with more standard ways of drawing, and animating, consequently challenging normative ways of being. Informed by Scott McCloud’s theorizing of the gutter, Thomas Lamarre’s work on the interval, and Sara Ahmed’s discussion on queer  \norientation, Moon Prism Boys frames particular forms of interstices as spaces that have the potential to positively disturb a monolithic form of masculinity when brought into contact with queerness.  \niv  \nAcknowledgments  \nI want to start by thanking my thesis supervisor and mentor Marc Steinberg who introduced me to anime studies during my Undergraduate studies, and supported my work with kindness since then. By constantly challenging my way of thinking about animation you truly animated a spark in that brain of mine and provided a warm and welcoming space for learning.  \nI am indebted to Thomas Lamarre whose generosity has no bounds; his workshops at McGill University taught me how to explore the vast meanings behind animation and to always go beyond what appears on the surface. A very special thank you to Mitsuhiro Yoshimito who accepted to supervise my research study at Waseda University in the summer of 2019. I am thankful for the engaging discussions on magical girls and shōjo I had with Bryan Hikari Hartzheim, Akiko Sugawa-Shimada and Deborah Shamoon. I also wish to express my gratitude to the Mechademia family who welcomed me with open arms and provided precious feedback during the 2019 conference in Minneapolis. I also giv","cbCairMxhjw6DAt2","https://ap.wps.com/l/cbCairMxhjw6DAt2","pdf",16292333,79,"English","# Introduction\n## On the Magical Girl\n## Concepts and Approaches\n# Chapters","[{\"question\":\"What media and series does the thesis analyze?\",\"answer\":\"It analyzes the manga Magical Boy Majorian (2007-2008) and season 15 of Pretty Cure, titled Hugtto! PreCure (2018-2019). The study focuses on key scenes from both works.\"},{\"question\":\"How does the thesis explain the magical boy’s role in queer representation?\",\"answer\":\"It argues the magical boy functions as both a queer survival object and a “queering device.” This framing treats the character as a site where queer representation emerges while also challenging heteronormative expectations.\"},{\"question\":\"Why are transformation (henshin) sequences central to the thesis’ argument?\",\"answer\":\"The thesis contends that henshin sequences open a space for gender negotiation. They disrupt heteronormativity by crossing and blending gender expression and form.\"}]","Moon Prism Boys - The Magical Boy as Queering Device - Master of Arts (Film Studies) Thesis | PDF",199]