[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"detail-sidebar-cat-0-en-105":3,"doc-seo-154104-105":59,"doc-detail-154104-en":131},{"code":4,"msg":5,"data":6},0,"success",[7,13,18,23,28,33,38,43,48,51,55],{"id":8,"doc_module":4,"doc_module_name":9,"category_name":10,"show_sort_weight":11,"slug":12},1,"Document","Story & Novel",90,"story-novel",{"id":14,"doc_module":4,"doc_module_name":9,"category_name":15,"show_sort_weight":16,"slug":17},2,"Literature",80,"literature",{"id":19,"doc_module":4,"doc_module_name":9,"category_name":20,"show_sort_weight":21,"slug":22},4,"Exam",70,"exam",{"id":24,"doc_module":4,"doc_module_name":9,"category_name":25,"show_sort_weight":26,"slug":27},5,"Comic",60,"comic",{"id":29,"doc_module":4,"doc_module_name":9,"category_name":30,"show_sort_weight":31,"slug":32},6,"Technology",50,"technology",{"id":34,"doc_module":4,"doc_module_name":9,"category_name":35,"show_sort_weight":36,"slug":37},7,"Healthcare",40,"healthcare",{"id":39,"doc_module":4,"doc_module_name":9,"category_name":40,"show_sort_weight":41,"slug":42},8,"Research & Report",30,"research-report",{"id":44,"doc_module":4,"doc_module_name":9,"category_name":45,"show_sort_weight":46,"slug":47},9,"Religion & Spirituality",20,"religion-spirituality",{"id":46,"doc_module":4,"doc_module_name":9,"category_name":49,"show_sort_weight":46,"slug":50},"World Cup","world-cup",{"id":52,"doc_module":4,"doc_module_name":9,"category_name":53,"show_sort_weight":52,"slug":54},10,"Lifestyle","lifestyle",{"id":56,"doc_module":4,"doc_module_name":9,"category_name":57,"show_sort_weight":24,"slug":58},19,"General","general",{"code":4,"msg":60,"data":61},"ok",{"site_id":62,"language":63,"slug":64,"title":65,"keywords":66,"description":67,"schema_data":68,"social_meta":124,"head_meta":126,"extra_data":128,"updated_unix":130},105,"en","reclaiming-and-remediating-space-the-dynamics-of-queer-presence-in-audio-drama-platform","Reclaiming and Remediating Space - The Dynamics of Queer Presence in Audio Drama Platform","","Mainland China’s censorship of Boys’ Love (BL) content shows shifting, uneven intensity and scope, producing cycles of systematic removal and occasional reappearance in public visibility. This study examines how visual BL content is suppressed more readily, while audio—still monitored—functions as a crucial medium. Focusing on Miss Evan, a Chinese audio streaming platform, it analyzes navigation of state censorship and market marginalization through platform design, sexually appealing voice performances, and provocative sound effects, while highlighting fans’ polymedia counterstrategies. The analysis frames an ongoing contest between queer marginalization and restoration, demonstrating cultural resilience and technological adaptability under state and societal constraints.",{"@graph":69,"@context":123},[70,84,106],{"@type":71,"itemListElement":72},"BreadcrumbList",[73,77,79,82],{"item":74,"name":75,"@type":76,"position":8},"https://docshare.wps.com","Home","ListItem",{"item":78,"name":9,"@type":76,"position":14},"https://docshare.wps.com/document/",{"item":80,"name":40,"@type":76,"position":81},"https://docshare.wps.com/document/research-report/",3,{"item":83,"name":65,"@type":76,"position":19},"https://docshare.wps.com/document/reclaiming-and-remediating-space-the-dynamics-of-queer-presence-in-audio-drama-platform/154104/",{"url":83,"name":65,"@type":85,"image":86,"author":91,"headline":65,"publisher":94,"fileFormat":97,"inLanguage":63,"description":67,"dateModified":98,"datePublished":99,"encodingFormat":97,"isAccessibleForFree":100,"interactionStatistic":101},"DigitalDocument",{"url":87,"@type":88,"width":89,"height":90},"https://docshare.wps.com/thumbnails/reclaiming-and-remediating-space-the-dynamics-of-queer-presence-in-audio-drama-platform/154104.png","ImageObject",300,407,{"name":92,"@type":93},"Bill Black","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-10-23","2026-08-28",true,{"@type":102,"interactionType":103,"userInteractionCount":105},"InteractionCounter",{"@type":104},"ViewAction",15,{"@type":107,"mainEntity":108},"FAQPage",[109,115,119],{"name":110,"@type":111,"acceptedAnswer":112},"What does the study say about how BL is censored in mainland China?","Question",{"text":113,"@type":114},"Censorship of BL content in mainland China varies in intensity and scope, leading to systematic removal of visual BL presence and occasional reappearance in public.","Answer",{"name":116,"@type":111,"acceptedAnswer":117},"Why are audio dramas important for queer presence under censorship?",{"text":118,"@type":114},"Audio dramas can audibly portray intimacy through performance and sound effects, helping narratives persist even when visual channels are more susceptible to suppression.",{"name":120,"@type":111,"acceptedAnswer":121},"How does the Miss Evan platform sustain the BL subculture?",{"text":122,"@type":114},"Miss Evan restores BL subcultural visibility through innovative design features, sexually appealing voice performances, and provocative sound effects while navigating market marginalization and monitoring.","https://schema.org",{"og:url":83,"og:type":125,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":127,"canonical":83},"index,follow",{"doc_id":129,"site_id":62},154104,1787887959,{"code":4,"msg":5,"data":132},{"doc_id":129,"user_id":133,"nickname":92,"user_avatar":134,"doc_module":4,"category_id":39,"category_name":40,"doc_title":65,"doc_description":67,"doc_content":135,"file_id":136,"file_url":137,"file_type":138,"file_size":139,"view_count":105,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":140,"language":141,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":142,"faqs":143,"seo_title":144,"seo_description":67,"update_tm":130,"read_time":145,"preview_page_count":4},24189269381491,"https://ap-avatar.wpscdn.com/avatar/160000cf11732dd8392?x-image-process=image/resize,m_fixed,w_180,h_180&k=1788146458752108895","Reclaiming and Remediating Space: The Dynamics of Queer Presence in Audio Drama Platform  \nAbstract  \nThe censorship of Boys’ Love (BL) content in mainland China is marked by inconsistencies in both its intensity and scope. Amid these shifting regulatory boundaries, this study analyzes the systematic removal and occasional  \nreappearance of visual BL content from the public sphere. We found that as  \nvisual channels are most susceptible to suppression, audio—though still  \nmonitored—emerges as a crucial medium, leveraging the agentive power of  \nsound and media remediation to sustain fan engagement with BL narratives.  \nFocusing on Miss Evan, a Chinese audio streaming platform, we explore how it navigates state censorship and market marginalization while restoring the BL subculture through innovative design features, sexually appealing voice performances, and provocative sound effects. Additionally, we investigate the agency of Chinese BL fans in reclaiming BL’s presence through polymedia engagement. We argue that the dynamic negotiation between the platform, state censorship, and fandom reveals an ongoing contest between queer marginalization and restoration. While the platform seeks mainstream acceptance by conforming to censorship through the minimization of queer visual  \nrepresentation, the BL fandom employs counterstrategies to sustain the  \nsubculture in audio form. This tension highlights the cultural resilience and technological adaptability of queer subcultures as they navigate and resist the censorship imposed by state and societal norms.  \nKeywords: boys’ love, audio drama, fandom, visibility, audibility, remediation  \nDr. Tingting Hu is an Assistant Professor at the Department of Media and Communication, Xi’an Jiaotong Liverpool University.  \nDr. Tingting Liu is a Chancellor’s Research Fellow in the Faculty of Design and Society, at University of Technology Sydney (UTS), Australia.  \nIntroduction  \nDiverse representations of queer themes are observed across global media, with the genre of Boys’ Love (BL), which focuses on male-male romantic relationships and primarily caters to women and sexual minorities, standing out prominently for its significant visibility. Originating from Japanese comics in the 1970s, the BL subculture entered mainland China in the late 1990s via Taiwan, influenced by Japanese manga and fiction. Over the past two decades, BL has not only enjoyed considerable growth and commercial success within the Chinese media landscape but has also evolved into a robust transnational meta-fan culture with a distinct identity (Yang and Xu, 2016), spurred by shifts in gender and sexuality norms, increased purchasing power among women, and media industry adaptations to the needs of female audiences (Song, 2022a) . However, the once ‘excessively’ popular BL-adapted web dramas faced a sharp decline in 2021 as the Chinese authorities initiated a crackdown during the ‘Internet Clean-up Campaign (hereafter as the 2021 Campaign) .’ State media published a series of articles criticizing BL productions as a form of ‘vulgar culture.’ This marked a significant shift at the state level, signaling a move against LGBTQ+ content that led to the systematic exclusion of the BL subculture and media depicting male homoeroticism and effeminate masculinities from mainstream visual media platforms (Song, 2022b) . The state’s strategy evolved from rendering certain themes invisible to actively censoring and prohibiting them, while simultaneously promoting a heterosexist, hegemonic view of masculinity (Hu et al., 2023a) .  \nAmid tightened censorship that restricts explicit homosexual intimacy in visual mediums like manga and anime, BL audio dramas stand out as a unique digital medium that can audibly portray such intimacy. By leveraging sexually appealing voice performances and arousing sound effects, BL audio dramas skillfully bypasses textual and visual restrictions, enriching narrative elements and fostering community among it","cbCaioLUld6FouPM","https://ap.wps.com/l/cbCaioLUld6FouPM","pdf",1688941,27,"English","# Abstract\n# Introduction\n## Origins and growth of BL in China\n## State censorship and the 2021 Internet Clean-up Campaign\n## Why audio drama remains audibly viable\n## Miss Evan and remediation across media","[{\"question\":\"What does the study say about how BL is censored in mainland China?\",\"answer\":\"Censorship of BL content in mainland China varies in intensity and scope, leading to systematic removal of visual BL presence and occasional reappearance in public.\"},{\"question\":\"Why are audio dramas important for queer presence under censorship?\",\"answer\":\"Audio dramas can audibly portray intimacy through performance and sound effects, helping narratives persist even when visual channels are more susceptible to suppression.\"},{\"question\":\"How does the Miss Evan platform sustain the BL subculture?\",\"answer\":\"Miss Evan restores BL subcultural visibility through innovative design features, sexually appealing voice performances, and provocative sound effects while navigating market marginalization and monitoring.\"}]","Reclaiming and Remediating Space - The Dynamics of Queer Presence in Audio Drama Platform | PDF",68]