Tag Archives: cosplay

Great links, less spamming (27 February 2015)

  •  You’re Excluding Stories By Straight, White, Cis Men? J’accuse! J’accuse! | K Tempest Bradford (February 22): “Reading only women for a year takes some thought and effort. And if you do that, people hardly ever assume that it happened Just Because or On Accident or because you were Just Reading The Best Books Regardless Of The Identity Of The Author. […] A reviewer who makes the choice to focus exclusively on marginalized voices is making a good choice. There are plenty of places for the privileged to get and gain attention. Making a space for everyone else is not bias, it’s a step towards balance.”
  • Teachers’ gender bias in maths affects girls later | Sue Wilson at The Conversation (February 25): “The researchers followed nearly 3000 students from 6th grade to the end of high school. As a measure of teacher bias, they compared school 6th grade test marks given by teachers who knew the students’ sex, with external test marks for the same students, but with no identifying characteristics provided. The researchers identified that a worrying number of teachers gave boys higher maths test results than girls of the same ability. They also studied the long-term effects of this bias. The study found that the effects of teacher bias (measured by giving lower marks in mathematics for the same standard of work as boys) persisted for girls, leading to poorer results through their high school years. However, many boys whose teachers over-assessed their performance in the early years went on to be successful in mathematics and science.”
  • JamForLeelah: Trans Positive Game Jam | Matthew Boucher and Kara Jayne (February 22): [warning for discussion of abuse and suicide] “JamForLeelah is a month long trans positive game jam to raise awareness on LGBTIQ issues, specifically trans youth issues and Leelah’s Law as well as an attempt to raise money for trans specific charities such as the Transgender Law Center, Camp Aranu’tiq, and the Sylvia Rivera Law Project. […] Leelah expressed an intense interest in not only gaming, but game development as well. She made this clear on both her Tumblr and Reddit accounts, so an indie game jam felt like a possible way to raise awareness for Leelah’s plea for social change, in a method she may not have only approved of, but also taken part in.”
  • The Future’s Been Here Since 1939: Female Fans, Cosplay, and Conventions | Uncanny Magazine (Jan/Feb): [warning for descriptions of violence] “Cosplay has been around since the very first science fiction fan conventions in the 1930s and before the word “cosplay” was invented. The first recorded cosplayers, Myrtle R. Jones and Forrest J. Ackerman, wore what they called “futuristicostume” during the first Worldcon in 1939.”
  • I tried tracking my period and it was even worse than I could have imagined | Maggie Delano at Medium (February 23): “yet another example of technology telling queer, unpartnered, infertile, and/or women uninterested in procreating that they aren’t even women. It’s telling women that the only women worth designing technology for are those women who are capable of conceiving and who are not only in a relationship, but in a sexual relationship, and in a sexual relationship with someone who can potentially get them pregnant. Read: straight, sexually active, partnered, cis women with enough money for a smartphone to run the app.”
  • Man Who Terrorized Brianna Wu For Months Says He Was Just Kiddin Around | Jezebel (February 24): [warning for discussion of threats and harassment] “The problem with Gamergate is you can’t satirize these people. I can’t stress this enough: the wider point here is the gamification of the harassment of women.” It’s already hard enough to get law enforcement to take threats against women online seriously. Wu worries that Rankowski’s hilarious joke will give police yet another excuse not to investigate violent threats online.”
  • The Harassment Game | Mikki Kendall at Model View Culture (February 23): [warning for discussion of threats and harassment] “And it dawned on me, there is no life after being harassed if you’re a marginalized person speaking up on the internet. Whether my harassment comes from talking about race in 2009, abortion in 2011, feminism in 2013, or some brand new topic in 2015, it’s clearly a part of my life. My choices are never speak, or be harassed for speaking. The topics really don’t matter. Because none of this is about ethics in game journalism, protecting the unborn, or defending feminism, comics, or science fiction from the perceived threat of people wanting them to be more inclusive.”

We link to a variety of sources, some of which are personal blogs.  If you visit other sites linked herein, we ask that you respect the commenting policy and individual culture of those sites.

You can suggest links for future linkspams in comments here, or by using the “geekfeminism” tag on Pinboard, Delicious or Diigo; or the “#geekfeminism” tag on Twitter. Please note that we tend to stick to publishing recent links (from the last month or so).

Thanks to everyone who suggested links.

Link Us Something Please (8 February 2015)

  • Computational Linguistics Reveals How Wikipedia Articles Are Biased Against Women | MIT Technology Review (February 2): “various researchers have kept a close eye on the way the gender bias among editors may be filtering through to the articles in the encyclopedia itself. Today, Claudia Wagner at the Leibniz Institute for the Social Sciences in Cologne, Germany, and pals at ETH Zurich, Switzerland and the University of Koblenz-Landau, say they have found evidence of serious bias in Wikipedia entries about women, suggesting that gender bias may be more deep-seated and engrained than previously imagined.”
  • Here’s What It’s Like For A Woman To Send a Job Rejection To A Man | Jolene Creighton on Medium (February 2): “Why we rejected him… Simply put, he’s not a science writer. That’s the only consideration that factored into our decision. Looking at his impressive list of publications, there isn’t anything even remotely on science. At least, nothing that I have seen. Admittedly, I didn’t look up every single publication. But either way, if not being a science writer isn’t a good enough reason for you, here are a few other reasons that we could have rejected him.”
  • #28DaysOfBlackCosplay: More Than Just A Hashtag | Black Girl Nerds (February 5): “Jamie: Why is cosplay so important to the blerd (black nerd) community?
    Chaka: As Black nerds, it’s important for us to see images of each other. Things are starting to get better, but we still have so few characters of color in our comics, video games, anime, manga and movies. It can be disheartening, never seeing anyone who looks like you in the media you love so much. Being able to physically see Black cosplayers out at cons, literally wearing their fandom on their sleeves is just so intensely satisfying on a level I may not ever be able to accurately describe.”
  • How Using ‘They’ as a Singular Pronoun Can Change the World | Feministing (February 3): “using singular they is far more than a way to respect friends who have gender identities outside the binary. Singular they has exciting potential to be part of a radical shift in the dominant gender culture. Changing the culture may seem like a mighty task for one little pronoun. But actually, it wouldn’t be the first time that a pronoun was near the center of a momentous cultural shift.”
  • [warning for discussion of abuse and suicide] Twitter CEO Dick Costolo finally admits the obvious: Site has failed users on abuse | Washington Post (February 5): “Twitter chief executive Dick Costolo has never deigned to address rampant harassment on his platform, despite the frequency with which that subject makes the news. But on Wednesday, in the wake of a blockbuster radio piece by the feminist writer Lindy West, Costolo at last admitted to a fatal flaw of his platform that hundreds of critics and troll-battered tweeters have pointed out already: Twitter has become an ideal platform for harassment, in large part because the site has done so little to combat it. “We suck at dealing with abuse and trolls on the platform and we’ve sucked at it for years,” Costolo wrote, in a company memo obtained by the Verge. “
  • Is the Professor Bossy or Brilliant? Much Depends on Gender | Claire Miller at New York Times (February 6):”Benjamin Schmidt, a Northeastern University history professor, says he built the chart using data from 14 million student reviews on the Rate My Professors site. It allows you to search for any word to see how often it appeared in reviews and how it broke down by gender and department. The chart makes vivid unconscious biases. The implications go well beyond professors and college students, to anyone who gives or receives feedback or performance reviews.”

More articles about that Newsweek story and lead illustration:

  • Fighting Sexism In Silicon Valley | TechCrunch (January 30): “As they start or join startups that are looking for funding, I sincerely hope that millennials will apply their unique ethos to their funding strategies and career decisions. I hope they seek out and partner with VCs who share their same values about gender diversity, who are unafraid to invest in woman-led startups, and who have women on staff throughout their ranks. I hope they will embrace the diversity that helps to define their generation.”
  • Newsweek, Allies, and Critique | Ellen’s Blog (January 30): “It’s crucial that we critique public statements on this issue. There aren’t many people who are willing to speak up, so the few voices are amplified to an unreasonable degree. This means we lack a broad, nuanced perspective that could propel us forward. If you’re speaking for a group, you should be anxious to hear how their perspective differs. You should also encourage new voices.”
  • Ethical Issues in the Online World | Santa Clara University (February 5): “Ironically, though the article itself focuses on the story of one particular startup founded by two women to illustrate the problem of gender discrimination in Silicon Valley, the reader has to scroll down quite a ways before getting to a photo of those two women entrepreneurs. What if those two real women had been on the cover? Their experiences were apparently seen as interesting and representative enough to illustrate the broader issue, but their faces weren’t. Instead, the key image of the piece (which, the cliché goes, is worth a thousand words), gives voice to those who demean such women.”
  • Quiet, Ladies. @Wadhwa is Speaking Now | Amelia Greenhall (February 3): “What can Vivek Wadhwa do if he wants to ACTUALLY help women in tech? To start, Wadhwa needs to shut up about women in tech already! (And forever, preferably. Should we start #stopWadhwa2015?) When reporters call him about women in tech, he should suggest that they speak to an actual woman in tech on the topic instead – perhaps any of the women he has invited to come visit him at his office. We women are waiting for the email that says, “Vivek recommended I speak to you instead, because you are more qualified.” Vivek could donate twice the funds raised by the women in tech book to actual tech feminist non-profits. He could credit the women interviewed in the book by asking permission to put their names and links to their work on the book’s website. He could advocate for the creation of a gender studies faculty position at Singularity University. He could talk about something (anything!) that he has actual experience with, other than women in tech. May that day come soon!”

We link to a variety of sources, some of which are personal blogs.  If you visit other sites linked herein, we ask that you respect the commenting policy and individual culture of those sites.

You can suggest links for future linkspams in comments here, or by using the “geekfeminism” tag on Pinboard, Delicious or Diigo; or the “#geekfeminism” tag on Twitter. Please note that we tend to stick to publishing recent links (from the last month or so).

Thanks to everyone who suggested links.

The Linkspammer’s Guide to the Galaxy (19 August 2014)

We link to a variety of sources, some of which are personal blogs.  If you visit other sites linked herein, we ask that you respect the commenting policy and individual culture of those sites.

You can suggest links for future linkspams in comments here, or by using the “geekfeminism” tag on Pinboard, Delicious or Diigo; or the “#geekfeminism” tag on Twitter. Please note that we tend to stick to publishing recent links (from the last month or so).

Thanks to everyone who suggested links.

Baby, we were born to linkspam (12 February 2013)

You can suggest links for future linkspams in comments here, or by using the “geekfeminism” tag on delicious or pinboard.in or the “#geekfeminism” tag on Twitter. Please note that we tend to stick to publishing recent links (from the last month or so).

Thanks to everyone who suggested links.

babeology-leeanna-vamp-is-lady-chewbacca-20110815032950638

Re-post: “Oh, You Sexy Geek!”: “Geek Girls” and the Problem of Self-Objectification

During December and January, Geek Feminism is republishing some of our 2012 posts for the benefit of new and existing readers. This post originally appeared on April 19, 2012.

Cross-posted at From Austin to A&M.

I just returned from the PCA/ACA conference in Boston this year, where I presented a paper on geek women presenting themselves as “sexy,” focusing on cosplay.

My presentation had a powerpoint. I’ve embedded it below. You can also download it, if you like.

I’m fairly certain the embedded video for “G33k and G4m3r Girls” won’t work, so here it is:

And here’s the actual presentation I gave:

In July of last year [2011] at Comic-Con (the largest media convention in the country), a panel titled “Oh, You Sexy Geek!” purported to address the trend of female geeks dressing “sexy.” From the panel description:

Does displaying the sexiness of fangirls benefit or demean them? When geek girls show off, are they liberating themselves or pandering to men? Do some “fake fangirls” blend sex appeal with nerdiness just to appeal to the growing geek/nerd market, or is that question itself unfair? And what’s up with all the Slave Leias?

The discussion at Comic-Con was framed in terms of individual choices, not structural influences, and this limited the conclusions the panel could come to. The dichotomous choice offered—“Does displaying the sexiness of fangirls benefit or demean them? […] are they liberating themselves or pandering to men?”—fails to take into account the complexities of women’s positions in geek culture, the politics of cosplay, or how cultural ideals of beauty influence women’s fashion decisions and choices.Geek cultures—centered on video games, science fiction and fantasy, and comic books—are traditionally thought of as boys’ clubs. Even though women often make up half of geek populations, their roles in geek culture(s) are limited by the perceptions and actions of advertisers, producers, designers, marketers, and fans. Women are considered valuable additions to many geek cultures, but usually as decoration. Which means that most of the women “celebrated” in geek cultures are conventionally beautiful, thin, white, abled cis women who position themselves as sexy objects for male geek consumption, usually via cosplay. For the uninitiated, the term cosplay is a combination of “costume” and “roleplay” or “play,” and refers to when fans costume as characters or objects from their favorite media (like video games, movies, and TV shows). Cosplayers usually wear their costumes to conventions, and the “roleplay” aspect of cosplaying is often minimal in North America, and limited to the poses struck for photos or occasional interactions in the convention hallways.

This presentation will explore the ways in which female geeks’ choices are limited by geek cultures, how the trend of self-objectification among geek women can signal both a hostility towards women as equal participants and a resistance to that hostility, and how blaming women’s performances is a hand-waving exercise intended to gloss over the culture(s)’ problems.

The sexism that persists in geek communities is not special. It is not separable and inherently different than sexist institutions and behaviors in the “real world.” This means that the sexualization and objectification of women is not unique to geek cultures, though it is particularly severe in geek media. Video games, comics, science fiction, fantasy—these media forms are often at fault for promoting unrealistic (and, pretty regularly, physically impossible) standards of beauty for women. They fashion their female heroines and villains as sexy objects to be consumed, unlike male counterparts. Further, geek industries bring the objectification of women into the real world, hiring, for example, booth babes for conventions. Booth babes are conventionally attractive models hired by media companies to wear skimpy clothing and entice convention-goers to their respective booths. Geek women exist within this culture, which devalues their contributions as producers of media and meaning, but values their contributions as adornment.

This project is about self-objectification, not objectification by others, but the two are not wholly separable, any more separable than my putting on makeup and high heels this morning and the objectification of women in advertising and fashion magazines. Just as media representations of women influence women’s decisions to diet, wear cosmetics, get plastic surgery, lighten their skin, relax their hair, shave their legs, and wax their bikini lines, geek media representations of women influence geek women’s decisions to dress in “sexy” cosplay.

By “sexy” cosplay, I mean cosplay that appeals to heterosexual male fantasies, participates in the objectification of the cosplayer, and (purposefully or not) positions the cosplayer as an object for consumption by male geeks. There are two ways to participate in sexy cosplay; one is to choose a character whose costume is already sexy, and another to alter a character’s costume in order to make it sexy.

First, let’s look at cosplayers who do not alter their costumes. A rather visible example of this kind of sexy cosplay is women who costume as “slave Leia.” The Star Wars character has two main costumes that cosplayers choose from. [Next slide] The first, and least popular, is the costume from A New Hope. This is the costume with the iconic buns. [Next slide] The second, and more popular, Leia costume is “slave Leia,” the bikini-style costume worn by Leia in Return of the Jedi when she is the prisoner of Jabba the Hutt. At major science fiction media conventions, like Comic-Con and Dragon*Con, it is common to have an official group slave Leia picture, because of the popularity of this costume with cosplayers and other convention-goers. In the slave Leia cosplay, we see a classic example of sexy cosplay in which the costumer chooses a costume that is already heteronormatively “sexy.”

Next, let’s look at an example of a cosplayer who alters their costume to make them sexy. [Next slide] This is LeeAnna Vamp as Chewbacca from Star Wars, who is on the left. This cosplay was featured on IGN, a website about gaming and entertainment. Notice how Vamp positions herself compared with the actual Chewbacca. Chewbacca stands firmly and aggressively, feet apart to keep him stable. LeeAnna, on the other hand, stands off-center, with her legs together and crossed: a passive position. In the kneeling photo, her position suggests sexual availability and exposure (not sexual aggression), with a slightly open mouth and legs parted. These positions, along with her revealing costume, position LeeAnna as a sexual object for consumption. [Next slide]

In both altered and unaltered sexy cosplay, we thus see a desire to be seen as attractive by straight men. These women visually signal to a viewer (there’s always a viewer for cosplayers) that they are conforming to heteronormative beauty standards. They do this by positioning themselves as sexually receptive and passive; by wearing costumes that emphasize body parts that our culture associates with sex appeal, like breasts, hips, buttocks, and navels; and by emphasizing their femininity and conformity to beauty standards.

As Naomi Wolf points out The Beauty Myth, women in the U.S. are rewarded for capitulating to narrow and often impossible beauty standards. She claims that beauty is a currency, with which “women must unnaturally compete for resources that men have appropriated for themselves” (12). Ariel Levy’s exploration of raunch culture in Female Chauvinist Pigs demonstrates, however, that women must often do more than merely perform beauty work. She argues that “hotness doesn’t just yield approval. Proof that a woman actively seeks approval is a crucial criterion for hotness in the first place.” In a world of booth babes and sexy cosplay, this is apparent. What makes the sexy cosplay sexy is not merely that the cosplayers are thin, young, and buxom, but that they are performing and actively seeking male approval. [Next slide] For a particularly egregious example of this, I’m going to show you the video created by some geek women, mostly actresses, who formed a group called Team Unicorn. [play to 1:28] The video is very repetitive, so we can stop it there.

Almost everything about this video marks it as a performance in the service of geek men. Of course, the participants in the video, Team Unicorn, consist of young, thin, light-skinned women who conform to cultural beauty standards. There are a number of particularly porn-like shots, in which the young women are naked, strategically covered by light sabers, video game controllers, or DVDs, and on piles of geek toys, movies, or comic books. Meanwhile, the men in the intermittent shots do not match cultural standards of male beauty or masculinity. They wear cheap costumes and dance in awkward or silly ways. The women in the video wear sexy and high-quality costumes, and their dances mimic those of pop stars, which is to say, their dances are meant to appeal to straight male viewers. The video is also framed by Seth Green saying, “Hello friends. Don’t you want to meet a nice girl?,” positioning the video as an introduction to women as dating partners or sex objects. The video is not meant for geek women to view, and feel empowered by seeing representations of other geek women. It is meant to be viewed by men who wish to believe that, despite their own inability to meet cultural standards of masculinity, there are geek women available to them who are “sexy” in two ways: 1. These women do fit a physical standard of beauty, and 2. These women want to please men, want to be sexually appealing to them.

The video’s YouTube description claims, “This music video parody proves Geek and Gamer Girls really do exist.” Since, at the time, there had been multiple headlines proclaiming that women make up 50% of gamers and Comic-Con attendees, this description seems disingenuous. This is because geek women who are not “hot” are routinely ignored or erased in geek culture. This video would more accurately describe itself as “proof that conventionally sexy women who are also geeks want to have sex with you, presumed straight geek male viewer.”

Because geek women are often clearly aiming their performances at geek men, geek men and women often place blame on the women who dress this way. [Next slide] A comment on Geek Tyrant, written by a blogger who is posting a collection of “cosplay cleavage,” is illustrative. Venkman writes, “And ladies, maybe some of you will find these images offensive, but these are women that are dressing like this. We didn’t ask them to, they do it on their own, and if women dress like this, the fact of the matter is…guys are going to stare [sic].” This sentiment lands the blame for the objectification of geek women squarely on the shoulders of women, and characterizes men’s responses to these women as inevitable, natural, and uncontrollable. [Next slide] Needless to say, however, the images included in the blog post make it clear that these geek men feel they have nothing to apologize for. The blogger is not suggesting that men do not objectify women (after all, they go to cons to see “cleavage,” not to meet women or fellow geeks), but he refuses to accept responsibility for this. Rather, he suggests that women need to just accept that “guys are going to stare” at women who perform a certain version of “sexy.” It is thus women’s responsibility to prevent their own objectification. [Next slide]

There are some obvious problems in this kind of hand-waving exercise, but the most important one for us today is that one of the reasons geek women seek the approval of geek men is that geek men have positions of power and privilege in both geek industries and in geek fan communities. While women understand that sexy cosplay won’t get them respect, per se, they also know that it is most likely to get them positive attention, recognition, and limited acceptance in geek communities. Women who do not or cannot seek sexual approval from the male geek community are more likely to be ignored, derided, or dismissed. They are more likely to be called harpy feminists or annoying squeeing fangirls than to get approval and acceptance. Team Unicorn, for example, was rewarded generously for their performance with relative fame and funding for a slick new website. They also managed to buy legitimacy in this video with the inclusion of Seth Green and Stan Lee. One has to wonder, would Seth Green have agreed to a video proving the existence of female geeks if those geeks had been fat, queer, or disabled?

The pressure is on for geek women to position themselves as sexy consumable objects for geek men. When they do so, their decision is framed as a freely-made choice. On the other hand, men’s behavior in reaction to sexy cosplay, like leering, sexual harassment, or other forms of objectification, is usually framed as inevitable and natural. The pressure women feel to perform “sexy” for their fellow geeks is usually ignored or dismissed, and the conversation becomes similar to the “Oh, You Sexy Geek!” panel at Comic-Con, in which the problem is framed as about geek women, not geek culture. Are women selling out, or being empowered?

The answer to that question is that it’s more complicated. While women performing sexy for their fellow geeks are unquestionably doing so within a culture that encourages this performance and values women merely as decoration, they may also be using sexy cosplay to subvert that culture’s objectification of women.

In John Fiske’s Understanding Popular Culture, he describes jeans as objects of popular culture that can embody contradictory meanings. Jeans, he argues, have multiple meanings given to us by jean producers, such as associations with heteronormative femininity, youth, toughness, and/or hard work. These meanings come from the top, and represent the interests of those in power. People can tear their jeans (or write on them, or bleach them, or cut them off) to subvert and resist those meanings, but this doesn’t mean that the original meanings just go away. Rather, both meanings coexist in the garment simultaneously. According to Fiske, this means that popular culture objects, like jeans, “can entail the expression of both domination and subordination, of both power and resistance. So torn jeans signify both a set of dominant American values and a degree of resistance to them” (4). Sexy cosplay works in the same way. There are ways in which individual sexy cosplayers incorporate meanings resistant to the culture’s demand that they proffer themselves as consumable objects.

[Next slide] Olivia Waite, a geek and erotica writer, wrote about her personal experience with the slave Leia cosplay, after I had blogged a version of this essay at the Geek Feminism blog. Waite was a big fan of Star Wars when she was a child, and her favorite character was Leia, who she describes as “badass, intelligent, and passionate.”

She writes that when watching Return of the Jedi,

as soon as [Leia] shows up in the gold bikini, with the high ponytail and the neck-chain, every cell in my being went, She must be so pissed about that.

Because what people forget, when they talk about Slave Leia outfits, is that it’s the one costume she doesn’t choose for herself. She’s forced into it, compelled to wear that bikini for Jabba’s dubious and slobbery pleasure. And I can see why people are upset that this happens—because if there’s one thing we do not need to gratify so much, it’s the male gaze in film—but at the same time, I think it’s important that this happens to Leia, because it happens to plenty of women, all the time, every day, around the world, with or without help from a gold bikini.

And here is what Leia does, when you force her into a scanty outfit and choke-chain: she takes that chain, and she kills you with it. She doesn’t let her clothing get in her way or limit her more than she can help—she waits for her moment to strike, and then she conquers her would-be conqueror and saves the day.

And I was a little kid, not yet desensitized to violence […] Jabba’s death scene freaked the hell out of me. It wasn’t a clean blaster shot to the chest or a slice from a lightsaber that sent sparks flying or made you turn invisible. There were struggles, and flailing, and twitching limbs. The shots are close-ups, and very dark—it’s vicious, and vengeful, and physical, and very very personal.

So for me, wearing that gold bikini does not mean Here I am, a sexy toy for your amusement and gratification.

To me, that gold bikini says, If you fuck with me, I will end you.

It says, What I wear is not the same as who I am.

Waite’s is a particularly powerful example of how women can create subversive meanings in their sexy cosplay. Hers doesn’t even require an alteration in the costume, though it may include a more aggressive stance for pictures, or even a performance of the chain choking. But it is, all the same, resistant to the cultural meanings put onto the costume by the producers of Star Wars and by the powers that be in fan communities. In Waite’s cosplay, the gold bikini is a symbol of female power and resistance to objectification. At the same time, it holds those dominant meanings as well. It contains the raunch culture assumption that women are primarily valuable for their performance of “sexy” and a resistance to that gross objectification. It symbolizes the titillation of women in sexual slavery and a challenge to women’s subordinate status as the sex class. From my own experiences in geek fan cultures, I don’t believe Waite is an anomaly, a pioneering feminist geek who uses sexy cosplay to challenge the messages found in geek media and geek culture. There are others like her, whose sexy cosplays are also challenges to the status quo.

It is also important to note that not all cosplay (sexy or not) is progressive or oppositional, either. As Henry Jenkins points out in Textual Poachers,

To say that fans promote their own meanings over those of producers is not to suggest that the meanings fans produce are always oppositional ones or that those meanings are made in isolation from other social factors. Fans have chosen these media products from the total range of available texts precisely because they seem to hold special potential as vehicles for expressing the fans’ pre-existing social commitments and cultural interests; there is already some degree of compatibility between the ideological construction of the text and the ideological commitments of the fans and therefore, some degree of affinity will exist between the meanings fans produces and those which might be located through a critical analysis of the original story. […] Readers are not always resistant; all resistant readings are not necessarily progressive readings; the ‘people’ do not always recognize their conditions of alienation and subordination. (34)

That is to say, not all geek women recognize their conditions as alienated and subordinated members of geek cultures. Not all sexy cosplay is (or can be) oppositional or progressive, as Waite’s reading of the costume is. However, this does not mean that geek women are somehow to blame for their objectification. As Jenkins notes, fans make their choices in the context of their cultures, and not in isolation of social factors. The beauty myth, raunch culture, and the male domination of geek culture(s) all contribute to female fans’ choice in sexy cosplay, even if they choose to resist the meanings handed down from those in power. In order to fix the culture of objectification in geek culture, we cannot look to individual women and cosplayers, but rather to those in power, whether they be content creators (like George Lucas, Stan Lee, Felicia Day), influential commentators (like Chris Hardwick, Jerry Holkins, Mike Krahulik), convention organizers, or forum moderators. The problem here is not “self-objectification,” as my essay title suggests, but the pressure to perform sexy (or be ignored, derided, or dismissed). The fact is, “sexy” is not the only way that geek women represent themselves; it is merely the representation recognized and rewarded by geek culture at large. That has to change before the position of women in these culture(s) can change.

Works Cited

Fiske, John. Understanding Popular Culture. 2nd ed. London: Routledge, 2010. Print.

Jenkins, Henry. Textual Poachers: Television Fans and Participatory Culture. New York: Routledge, 1992. Print.

Levy, Ariel. Female Chauvinist Pigs: Women and the Rise of Raunch Culture. Kindle ed. New York: Free Press, 2005. AZW file.

“Oh, You Sexy Geek!” Panel at Comic-Con, 21 July 2011, 10:45 AM. My Comic-Con 2011 Sched*. Comic-Con, n.d. Web. 25 September 2011. < http://mysched.comic-con.org/event/c31518fe1aa3bb6b788ba63757b84fba&gt;

Venkman. “Collection of Cosplay Cleavage.” Geek Tyrant. Geektyrant, 15 July 2011. Web. 9 April 2012.

Waite, Olivia. “In Defense of Slave Leia.” Olivia Waite. Olivia Waite, 29 August 2011. Web. 8 April 2012.

Wolf, Naomi. The Beauty Myth: How Images of Beauty Are Used Against Women. New York: William Morrow and Company, Inc., 1991. Print.