#metoo activism without the #MeToo hashtag: online debates over entertainment celebrities’ sex scandals in China

ABSTRACT

Hashtag activism is a common practice of digital feminism to challenge patriarchal orders. As the Chinese government has intensified its control over social media, a notable feature of the ongoing #MeToo movement is the absence of the hashtag itself. Within tightened state control online, how does hashtag activism build upon network connections to continue its impact without the hashtag? In this research, we compare the two largest sex scandals of 2021 involving prestigious male celebrities. We argue that online debates surrounding A-list celebrities’ sex scandals have facilitated virtual spaces for public discussion on structural gender inequalities in both public and private domains, even without the obvious #MeToo hashtag. Consequently, public discussion has popularized feminist concepts to help articulate these events. However, besides online discourse using male celebrity misconduct as a conduit to disentangle the inner workings of patriarchal institutions, misogynistic media practices and decoupling media strategies, like emphasizing the cases’ non-Chineseness, have been equally rampant to divert public attention. This article delineates the latest endeavors of Chinese digital feminism and reveals its promises and pitfalls when rallying online activism without a hashtag.

KEYWORDS:

• digital feminism
• #metoo
• celebrity sex scandal
• hashtag activism
• China

Acknowledgements

The authors would like to thank Dr. Chengpang Lee for providing helpful suggestions on earlier drafts.

Disclosure statement

No potential conflict of interest was reported by the author(s).

Notes

1. The social media market in China is dominated by domestic firms such as Tencent and Sina, which allows the Chinese government to exert speedy and effective censorship through content removal (Jennifer Pan 2017).

2. Many supporters of the Chinese #MeToo campaigns do not self-identify as feminists (Yin and Sun 2020). In cases regarding high-profile celebrities, victims have also sparked discussion and gained support beyond feminist communities.

3. Wu was born in Guangzhou, China and later immigrated to Canada. He first debuted with the K-pop boy band EXO in 2012, and began his solo career in China in 2014. Wang was born in Rochester, New York, as a second-generation Taiwanese American immigrant. Wang started his music career in Taiwan in the 1990s.

4. For example, Mimiyana’s “Their struggles of ‘private affairs’ finally enter public domain” Accessed December 22, 2022. https://www.wainao.me/wainao-reads/power-inequality-in-marriage-12242021. Philosophia’s “Why we should be wary of the term ‘qian’?” Accessed December 22, 2022. https://mp.weixin.qq.com/s/VFre6NjAjmdR5l7R6Vpzdw

5. Except for an auto-generated post on Wang’s birthday in 2022 and posts about his new song and concert in 2023. Accessed May 7, 2023. https://weibo.com/u/1793285524

6. See the announcement by the Cyberspace Administration of China on June 15, 2021 (in Chinese). Accessed June 17, 2022. http://www.cac.gov.cn/2021–06/08/c_1624735580427196.htm

7. In one of her Weibo posts on July 18, 2021, Du wrote, “I don’t think you [Wu] are an essentially bad person… The capitalist profit-driven fandom culture has led you to where you are today”

8. Accessed June 17, 2022. http://www.xinhuanet.com/mrdx/2021–08/02/c_1310101895.htm

9. Accessed June 19, 2022. http://www.xinhuanet.com/2021–07/22/c_1127684090.htm

10. The archive of the investigative report by the Southern Weekend on December 13, 2019. Accessed June 22, 2022. https://chinadigitaltimes.net/chinese/624306.html

11. Accessed February 9, 2023. https://k.sina.com.cn/article_7519874133_1c0382c550010164dz.html#/.

12. Li reposted BY2 studio’s post on December 18, 2021. Accessed June 26, 2022. https://weibo.com/5977512966/L6B8ergSB?from=page_1005055977512966_profile&wvr=6&mod=weibotime&type=comment

13. BY2 studio’s announcement on January 29, 2022. Accessed June 26, 2022. https://weibo.com/3502943355/LcZDhh7d5?from=page_1006063502943355_profile&wvr=6&mod=weibotime&type=comment#_rnd1656232512732

14. Lu Shihan’s commentary on December 20, 2021. Accessed June 29, 2022. https://weibo.com/3276099007/L6VnRhJMh?from=page_1005053276099007_profile&wvr=6&mod=weibotime&type=comment#_rnd1656492437865

Additional information

Funding

This research was supported by the research start-up fund at The Chinese University of Hong Kong

Notes on contributors

Ling Han

Ling Han is an Assistant Professor in the Gender Studies Programme at the Chinese University of Hong Kong. She is a sociologist researching the intersection of gender, digital platforms, and nonprofit organizations. E-mail: [email protected]

Yue Liu

Yue Liu is a PhD student at the School of Media Arts and Studies, Ohio University. Her research interests are digital feminist activism, popular culture, fandom and youth culture. E-mail: [email protected]