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Cosplaying with Gender: Freedoms and Limitations to Gender Exploration at Canadian Anime Conventions

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Cosplaying with Gender: Freedoms and Limitations to Gender Exploration at Canadian Anime Conventions COSPLAYING WITH GENDER: FREEDOMS AND LIMITATIONS TO GENDER EXPLORATION AT CANADIAN ANIME CONVENTIONS by Victoria E. Lemmons A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts In Women’s and Gender Studies Pauline Jewett Institute of Women’s and Gender Studies Carleton University Ottawa, Ontario © 2019 Victoria E. Lemmons Abstract This thesis investigates the gendered dimensions of cosplay and cross-play at Canadian anime conventions. How do cosplayers use cross-play to explore gender identities at anime conventions? What limitations hinder cosplayers from feeling free to explore their identities at these events? Why do cis women and non-binary people assigned female at birth (AFAB) participate in cross-play? I use in-depth interviews with cosplayers, autoethnography, and textual analyses of convention anti-harassment policies to explore these questions. Cross-play at Canadian anime conventions is beneficial to queer, trans, and non-binary attendees as they are able to explore their gender presentations in unique ways. Yet, there are limitations to this freedom, particularly for cis women and non-binary AFAB cosplayers who experience negativity surrounding femininity and heightened sexual harassment. These findings broaden understandings of gender and anime fan practices and encourage convention organizers to update policies on harassment. ii Acknowledgements I am indebted to the cosplay community in so many ways. It is thanks to my participants that I was able to produce this thesis. Convention organizers and volunteers made it possible for me to first encounter the world of cosplay. I’ve enjoyed attending different anime conventions across Canada, and I hope they continue to flourish as the years progress. Additionally, it is thanks to my dear friends Simone and Reggie, without whom I would never have been able to begin cosplaying. Thank you both for everything that you do. Thank you for listening to my ideas, for offering your own ideas, and for all the support you’ve given me throughout the years. Thank you for being my chosen family. I can’t wait until we can all cosplay together again. I would like to thank my supervisor, Dr. Laura Horak. Her guidance and wisdom were paramount to the completion of this project. Her feedback was always insightful and it made me look at things in ways I wouldn’t have considered before. Thank you for always answering my questions, for providing new and interesting ideas, and for helping me to become a better scholar. I would also like to thank my co-supervisor/grad advisor, Dr. Amrita Hari. She was there to guide me through my Master’s, she encouraged me, and she was always quick to offer kind words. She is a wealth of knowledge and I appreciate her help immensely. Thank you as well to my committee for taking the time to be an important part of the thesis process. Thanks to my family for supporting me despite not fully understanding my rationale for undertaking this project. I used to worry what you would think of me participating in the wild world of anime conventions, and now you patiently ask me about my interests and work. I appreciate you all and I love you very much. iii Table of Contents Abstract…………………………………………………………………………………………..ii Acknowledgments……………………………………………………………………………….iii CHAPTER ONE: Introduction…………………………………………………………………1 Literature Review………………………………………………………………………….3 The Research………………………………………………………………………………6 CHAPTER TWO: Methodology………………………………………………………………..8 The Insider/Outsider………………………………………………………………………8 Reflexivity……………………………………………………………………………….10 Semi-Structured Interviews……………………………………………………………...12 Autoethnography…………………………………………………………………………13 Recruitment Methods ……………………………………………………………………14 Coding and Data Analysis…………………………………………………………….…16 Participants……………………………………………………………………………….16 CHAPTER THREE: Freedom to Explore and its Limitations……………………………...19 Celebrity for a Moment…………………………………………………………………..20 Self-Confidence and Self-Actualization…………………………………………………24 Cosplaying with Gender…………………………………………………………………28 An Achievable Utopia for Gender Fluidity?…………………………………………..…34 Limitations: Body Shaming……………………………………………………………...36 Limitations: Racial Crossing…………………………………………………………….40 Limitations: Economic Factors………………………………………………………….42 CHAPTER FOUR: Playing with Masculinity and the Devaluation of Femininity………..45 Popularity of Male Characters…………………………………………………………..46 Unwanted Attention……………………………………………………………………..50 Yaoi………………………………………………………………………………………56 Taking Up Space (To be Taken Seriously)………………………………………………59 Gender Bending as a Reclamation of Femininity?………………………………………62 CHAPTER FIVE: Sexual Harassment at Anime Conventions……………………………...67 Stories of Sexual Harassment……………………………………………………………68 iv Why So Much Harassment?……………………………………………………………...74 Convention Policies Addressing Sexual Harassment……………………………………78 Policy Recommendations………………………………………………………………..84 CHAPTER SIX: Conclusion…………………………………………………………………..91 Future Research………………………………………………………………………….93 Final Words………………………………………………………………………………95 Appendix A: Interview Guide……………………………………………………………….....97 Appendix B: Informed Consent Form………………………………………………………...99 Works Cited……………………………………………………………………………………102 v CHAPTER ONE: Introduction Cosplay, a portmanteau of “costume” and “play,” is the act of dressing up as a character from anime or manga (or any other source material). It is common to cosplay while attending anime conventions, although it is not mandatory for admittance. Furthermore, “cross-play” describes a cosplayer who chooses to dress as a gender or sex other than their own. While existing scholarship on cosplay has found many different reasons for its popularity, there is a paucity of specifically gendered analyses investigating cosplay and cross-play at anime conventions. Moreover, Canadian anime conventions have not been studied, as existing studies were conducted in the United States and Asia. In this thesis, I show that being able to cross-play at Canadian anime conventions is beneficial to queer, trans, and non-binary attendees who are able to explore and play with their gender presentations. Yet, there are limitations to this freedom to explore, particularly for cis women and non-binary people assigned female at birth (AFAB) who experience negativity surrounding femininity and heightened sexual harassment at these events. Anime conventions are spaces where gender play is not only tolerated but anticipated by attendees. One of the forms of gender play common at conventions is cross-play.1 This study utilizes interviews of eight cosplayers who participate in cross-play and attend Canadian anime conventions. Specifically, three of my participants identified as cis queer women, two identified as non-binary AFAB people, one identified as a trans/fluid woman, one identified as a cis gay man, and one identified as a straight cis woman. I also analyze some of my own cosplay experiences and convention anti-harassment policies, to better understand this gender diversity at 1 This is not the same as “gender-bending,” when a cosplayer changes the canonical gender of a character and reimagines the character’s design. 1 anime conventions. Anime refers to any form of animation that comes from Japan. It is usually based on manga, which are Japanese comic books, although some anime is based on light novels and some is original, without source material. A study done by Masuda, et al., stated that in 2016, anime and its related products earned roughly 767.6 billion yen outside of Japan, or 6.9 billion Canadian dollars (7). Moreover, anime is now being licensed in over two hundred countries worldwide. With anime’s global rise in popularity, it is unsurprising that anime conventions are also becoming more popular. Today there are over two hundred different anime conventions worldwide (Anime Convention Schedule). In 2018, there were over twenty anime conventions in Canada alone (Anime Convention Schedule 2018). Anime conventions are generally three-day events where fans can meet and participate in a plethora of different activities. The largest Canadian anime convention is Anime North in Toronto, which had over 34,000 attendees in 2018 (Anime North 2018 Information). At conventions, there are panels to attend, celebrities from the fandom to meet, market halls to find anime-related merchandise, and even dances or raves. One of the most popular things to do at an anime convention is to cosplay. Cosplayers will often work many months ahead of time to prepare their costume for a convention, as well as spend large amounts of money amassing different costumes. People have been cosplaying since the 1960s in North America (Winge 66). Fans of science fiction and fantasy would dress as characters from Star Trek or Batman, as well as role- play with each other. As the demand for Japanese imports and media grew in the 1980s, more and more fans of anime and manga began attending science fiction and fantasy conventions (67). For example, at the 1980 San Diego Comic-Con, cosplayers dressed as characters from anime 2 and manga entered the masquerade (cosplay competition). As a result of this increased demand for anime and manga-related content, North American conventions began to include panels, guests, and activities that were anime and manga themed. Soon, fans started organizing their own conventions specifically dedicated to anime and manga. Literature Review There are many gaps in the research on cosplay and anime
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