Despite the fact that there actually exists a large number of
pornographic and romantic texts about male homosexuality consumed
and produced by American women since the 1970s, the "abnormality"
of those female cross-voyeurs is constantly underlined in U.S.
popular and academic culture. As the astonished, public reactions
in the face of a largely female (heterosexual) audience of
"Brokeback Mountain" (2005) and "Queer as Folk" (2000-2005) have
shown, a woman's erotic/romantic interest in male homosexuality is
definitely not as accepted as its male counterpart (men consuming
lesbian porn). In the academic publications on female
cross-voyeurs, the application of double standards with regard to
male/female cross-voyeurism is even more obvious. As Karen
Hellekson and Kristina Busse note in their "Introduction" to "Fan
Fiction and Fan Communities in the Internet" (2006), slash fiction
- fan fiction about male homosexual relationships mainly produced
and consumed by women - has stood in the center of fan fiction
studies so far, despite being merely a subgenre of it. The reason
for this seems to be an urge to explain the underlying motivations
for the fascination of women with m/m romance or pornography within
the academic discourse - a trend which differs completely from the
extremely under-theorized complex of men interested in "lesbians."
It is this obvious influence of conventional gender stereotypes on
the perception of these phenomena that provokes me to examine the
way in which the works of female cross-voyeurism and their
consumers/producers are conceptualized in the U.S. scholarly
accounts. In many ways, this thesis explores unknown territories
and respectively tries to take a closer look at academic problems
that have not been adequately addressed yet.
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