A recent line of research focuses on the enregisterment of newly-emerged vocal styles on Chinese social media (e.g., Starr et al., 2020; Mei & Starr, 2021). Building on this work, this study examines the linguistic features of a novel feminine style, jiaziyin (‘clip voice’), as it has proliferated on Chinese video-sharing platforms. The novel style, initially recognized for its unique acoustic attributes, has evolved with an increasing incorporation of semiotic features traditionally linked to sajiao, a more established register that indexes a childish, whining girlfriend persona (Farris, 1995; Yueh, 2012). By integrating elements from sajiao, clip voice parodies have amplified the portrayal of a spoiled, dependent girlfriend, further perpetuating misogynistic stereotypes.

Utilizing a blend of sociophonetic and content analysis, the research examines 42 videos tagged with clip voice on Douyin, a video-focused social networking platform. Through acoustic measurements, distinctive features of clip voice, such as high pitch and heavy creakiness, are identified. Concurrently, the analysis of video content sheds light on the evolving representation of this vocal style in online performances. Furthermore, an inspection of metalinguistic commentary accompanying these videos offers a lens through which societal perceptions and critiques of clip voice are revealed. Notably, the findings reveal a significant shift in clip voice performances over time. Later videos exhibit a marked inclination towards assimilating elements from sajiao, such as whining, which intensifies the portrayal of a spoiled girlfriend persona, thereby embodying deep-rooted gender stereotypes. This is further echoed in derogatory commentary, which accentuates and magnifies prevalent misogynistic narratives.

This research not only illuminates how novel styles evolve in light of existing personae and ideologies, but also underscores the profound gender implications, emphasizing the online policing of young women’s voices and the reinforcement of gendered biases through both satirical performance and scrutinizing commentary in the digital realm.