I believe that the fan production of âslashâ fiction, which ââŚsignifies same-sex relationships between two characters and specifies a genre of fan writingâŚâ (Jenkins 186) is still a popular mode of fan discourse. It continues to serves, what Henry Jenkins referred to as, âthe othersâ; a way for a fan to express themselves around people with similar interests or just for the fan who prefers to stay away from the mainstream media.
Slash is still being popular in contemporary fan works, as seen in this slash video using Game of Thrones as the subject. This video represents a homoerotic tension expressed between Theon and Robb. This pairing would offer and even more complex representation when considering the castration of Theon, but nonetheless a is a prime example of slash. As John Stoltenberg explained, â⌠a refusal of fixed-object choices in favor of fluidity of erotic identifications, a refusal of predetermined gender characteristics in favor of a play with androgynous possibilities,â (Jenkins 188).
In regards to my daily experiences with media culture I do encounter slash quite regularly. I do think that the increased visibility alters its cultural function from that described in Textual Poachers, as well. Slash has broadened in the sense of media outlet to choose from in modern fan studies. Traditionally slash was a function within written fan fiction but now fans are using machinima, fan viding, and still producing fan fic.
 I believe the more we encounter slash, the more likely we are to be desensitized to it; therefore, Jenkins idea of slash fiction is poaching-as-resistance and creating an interpretation unique to the fan would not be as prominent. I think that slash in todayâs society is still considered a progressive mode of discourse that challenges gender norms in todayâs society, but I do think, the more visibility of slash that we have the more socially acceptable it will become, over time.Â
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