Tanbi cul­ture con­fuses is­sues of pornog­ra­phy

Global Times - - View Point -

Sina Weibo blocked gay con­tent as part of a cam­paign to reg­u­late the on­line en­vi­ron­ment. This trig­gered a firestorm of dis­cus­sion on­line as Sina Weibo men­tioned ho­mo­sex­u­al­ity and pornog­ra­phy, bloody vi­o­lence in the same breath.

Rel­e­vant au­thor­i­ties or­dered rat­i­fi­ca­tion of cer­tain video sites and so­cial plat­forms with the in­ten­tion of mak­ing a cleaner and more har­mo­nious com­mu­nity en­vi­ron­ment.

It is un­der­stand­able for Sina Weibo to clean up porno­graphic and vi­o­lent con­tent, but ho­mo­sex­u­al­ity should not be the ob­ject of rec­ti­fi­ca­tion.

Ho­mo­sex­u­al­ity has ex­isted both at home and abroad since an­cient times as it is a nat­u­ral phe­nom­e­non in hu­man so­ci­ety. Al­though there is no sci­en­tific con­clu­sion on the causes of ho­mo­sex­u­al­ity, it should never be con­fused with pornog­ra­phy.

Ho­mo­sex­u­als have been as­so­ci­ated with stig­mas such as AIDS and pornog­ra­phy. It is very hard for this group to pur­sue recog­ni­tion in main­stream cul­ture. Sina Weibo’s be­hav­ior is clearly a wrong one-size-fit­sall im­ple­men­ta­tion of the gov­ern­ment’s gov­er­nance over pornog­ra­phy and vul­gar cul­ture.

In this in­ci­dent, there is also a con­cept that can­not be ig­nored: tanbi cul­ture. Tanbi, which orig­i­nated in Japan, refers to a lit­er­ary style that ad­vo­cates ro­mance and aes­theti­cism. In the 1960s, Ja­panese nov­el­ists and car­toon­ists es­tab­lished a con­nec­tion be­tween tanbi and beau­ti­ful boys’ love, which was widely loved by read­ers. Over time, tanbi be­came a syn­onym for ho­mo­sex­u­al­ity.

Tanbi cul­ture spread to the Chi­nese main­land and de­vel­oped fast at the be­gin­ning of the 21st cen­tury. Fu­joshi girls who en­joy ro­man­tic re­la­tions be­tween two men are ea­ger to share their own fan­tasies of same-sex love. In re­cent years, the rapid rise of so­cial net­works has pro­vided an op­por­tu­nity for the spread of tanbi cul­ture, which has also grad­u­ally been rec­og­nized by the main­stream ide­ol­ogy of so­ci­ety and be­come an im­por­tant source of lit­er­a­ture, film and tele­vi­sion cre­ation.

It is un­de­ni­able that many works of tanbi cul­ture have be­come car­ri­ers of pornog­ra­phy. Those porno­graphic works that seek com­mer­cial prof­its in the guise of tanbi cul­ture lead to a one-sided mis­un­der­stand­ing of ho­mo­sex­u­al­ity.

We should make it clear that tanbi cul­ture can never be con­fused with pornog­ra­phy. Both the gov­ern­ment and en­ter­prises have the re­spon­si­bil­ity and obli­ga­tion to im­ple­ment su­per­vi­sion and rec­ti­fi­ca­tion of the neg­a­tive el­e­ments of tanbi cul­ture.

In ad­di­tion, sup­port­ers of tanbi cul­ture and ho­mo­sex­u­als are two dif­fer­ent groups. Tanbi cul­ture does not rep­re­sent ho­mo­sex­u­al­ity and the porn econ­omy is not equal to tanbi cul­ture.

In any case, ho­mo­sex­u­al­ity should not be a scape­goat for the porn econ­omy.

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