Representation Inqueeries: How Are LGBTQ+ Characters Treated on Tv?
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GLAAD Media Institute Began to Track LGBTQ Characters Who Have a Disability
Studio Responsibility IndexDeadline 2021 STUDIO RESPONSIBILITY INDEX 2021 From the desk of the President & CEO, Sarah Kate Ellis In 2013, GLAAD created the Studio Responsibility Index theatrical release windows and studios are testing different (SRI) to track lesbian, gay, bisexual, transgender, and release models and patterns. queer (LGBTQ) inclusion in major studio films and to drive We know for sure the immense power of the theatrical acceptance and meaningful LGBTQ inclusion. To date, experience. Data proves that audiences crave the return we’ve seen and felt the great impact our TV research has to theaters for that communal experience after more than had and its continued impact, driving creators and industry a year of isolation. Nielsen reports that 63 percent of executives to do more and better. After several years of Americans say they are “very or somewhat” eager to go issuing this study, progress presented itself with the release to a movie theater as soon as possible within three months of outstanding movies like Love, Simon, Blockers, and of COVID restrictions being lifted. May polling from movie Rocketman hitting big screens in recent years, and we remain ticket company Fandango found that 96% of 4,000 users hopeful with the announcements of upcoming queer-inclusive surveyed plan to see “multiple movies” in theaters this movies originally set for theatrical distribution in 2020 and summer with 87% listing “going to the movies” as the top beyond. But no one could have predicted the impact of the slot in their summer plans. And, an April poll from Morning COVID-19 global pandemic, and the ways it would uniquely Consult/The Hollywood Reporter found that over 50 percent disrupt and halt the theatrical distribution business these past of respondents would likely purchase a film ticket within a sixteen months. -
Bury Your Gays’
. Volume 15, Issue 1 May 2018 Toxic regulation: From TV’s code of practices to ‘#Bury Your Gays’ Kelsey Cameron, University of Pittsburgh, USA Abstract: In 2016, American television killed off many of its queer female characters. The frequency and pervasiveness of these deaths prompted outcry from fans, who took to digital platforms to protest ‘bury your gays,’ the narrative trope wherein queer death serves as a plot device. Scholars and critics have noted the positive aspects of the #BuryYourGays fan campaign, which raised awareness of damaging representational trends and money for the Trevor Project, a suicide prevention organization focused on LGBTQ youth. There has been less attention to the ties #BuryYourGays has to toxicity, however. Protests spilled over into ad hominem attacks, as fans wished violence upon the production staff responsible for queer character deaths. Using the death of The 100 character Lexa as a case study, this article argues that we should neither dismiss these toxic fan practices nor reduce them to a symptom of present-day fan entitlement. Rather, we must attend to the history that shapes contemporary antagonisms between producers and queer audiences – a history that dates back to television’s earliest efforts at content regulation. Approaching contemporary fandom through history makes clear that toxic fan practices are not simply a question of individual agency. Longstanding industry structures predispose queer fans and producers to toxic interactions. Keywords: queer fandom, The 100, television, regulation, ‘bury your gays’ Introduction In March of 2016, queer fans got angry at American television. This anger was both general and particular, grounded in long-simmering dissatisfaction with TV’s treatment of queer women and catalyzed by a wave of character deaths during the 2016 television season. -
The Love That Refuses to Speak Its Name : Examining Queerbaiting and Fan-Producer Interactions in Fan Cultures
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 8-2015 The love that refuses to speak its name : examining queerbaiting and fan-producer interactions in fan cultures. Cassandra M. Collier, University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Collier,, Cassandra M., "The love that refuses to speak its name : examining queerbaiting and fan-producer interactions in fan cultures." (2015). Electronic Theses and Dissertations. Paper 2204. https://doi.org/10.18297/etd/2204 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. THE LOVE THAT REFUSES TO SPEAK ITS NAME: EXAMINING QUEERBAITING AND FAN-PRODUCER INTERACTIONS IN FAN CULTURES By Cassandra M Collier B.A., Bowling Green State University, 2012 A Thesis Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Women’s and Gender Studies Department of Women’s and Gender Studies University of Louisville Louisville, Kentucky August 2015 THE LOVE THAT REFUSES TO SPEAK ITS NAME: EXAMINING QUEERBAITING AND FAN-PRODUCER INTERACTIONS IN FAN CULTURES By Cassandra M Collier B.A., Bowling Green State University, 2012 A Thesis Approved on May 27, 2015 by the following Thesis Committee: ____________________________________________________ Dr, Dawn Heinecken ____________________________________________________ Dr, Diane Pecknold ____________________________________________________ Dr. -
Resistant Vulnerability in the Marvel Cinematic Universe's Captain America
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 2-15-2019 1:00 PM Resistant Vulnerability in The Marvel Cinematic Universe's Captain America Kristen Allison The University of Western Ontario Supervisor Dr. Susan Knabe The University of Western Ontario Graduate Program in Media Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Kristen Allison 2019 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Other Feminist, Gender, and Sexuality Studies Commons, Other Film and Media Studies Commons, and the Women's Studies Commons Recommended Citation Allison, Kristen, "Resistant Vulnerability in The Marvel Cinematic Universe's Captain America" (2019). Electronic Thesis and Dissertation Repository. 6086. https://ir.lib.uwo.ca/etd/6086 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract Established in 2008 with the release of Iron Man, the Marvel Cinematic Universe has become a ubiquitous transmedia sensation. Its uniquely interwoven narrative provides auspicious grounds for scholarly consideration. The franchise conscientiously presents larger-than-life superheroes as complex and incredibly emotional individuals who form profound interpersonal relationships with one another. This thesis explores Sarah Hagelin’s concept of resistant vulnerability, which she defines as a “shared human experience,” as it manifests in the substantial relationships that Steve Rogers (Captain America) cultivates throughout the Captain America narrative (11). This project focuses on Steve’s relationships with the following characters: Agent Peggy Carter, Natasha Romanoff (Black Widow), and Bucky Barnes (The Winter Soldier). -
Between Boys: Fantasy of Male Homosexuality in Boys' Love, Mary Renault, and Marguerite Yourcenar by Jui-An Chou Graduate Pr
Between Boys: Fantasy of Male Homosexuality in Boys’ Love, Mary Renault, and Marguerite Yourcenar by Jui-an Chou Graduate Program in Literature Duke University Date:_______________________ Approved: ___________________________ Anne F. Garréta, Supervisor, Chair ___________________________ Robyn Wiegman, Co-Chair ___________________________ Rey Chow ___________________________ Anne Allison Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate Program in Literature in the Graduate School of Duke University 2018 ABSTRACT Between Boys: Fantasy of Male Homosexuality in Boys’ Love, Mary Renault, and Marguerite Yourcenar by Jui-an Chou Graduate Program in Literature Duke University Date:_______________________ Approved: ___________________________ Anne F. Garréta, Supervisor, Chair ___________________________ Robyn Wiegman, Co-Chair ___________________________ Rey Chow ___________________________ Anne Allison An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate Program in Literature in the Graduate School of Duke University 2018 Copyright by Jui-an Chou 2018 Abstract “Between Boys: Fantasy of Male Homosexuality in Boys’ Love, Mary Renault, and Marguerite Yourcenar” examines an unexpected kinship between Boys’ Love, a Japanese male-on-male romance genre, and literary works by Mary Renault and Marguerite Yourcenar, two mid-twentieth century authors who wrote about male homosexuality. Following Eve Sedgwick, who proposed that a “rich tradition of cross- gender inventions of homosexuality” should be studied separately from gay and lesbian literature, this dissertation examines male homoerotic fictions authored by women. These fictions foreground a disjunction between authorial and textual identities in gender and sexuality, and they have often been accused of inauthenticity, appropriation, and exploitation. -
QUEER LIFE IS TRAGIC: Lauren Berlant's “Cruel Optimism”
sprinkle: An Undergraduate Journal of Feminist and Queer Studies | Volume 12 – 2019 QUEER LIFE IS TRAGIC Lauren Berlant’s “Cruel Optimism” and Lee Edelman’s Negative Queerness in Life is Strange By Tara Fredenburg ABSTRACT. Life is Strange (2015), by Raoul Barbet and Michel Koch, has sparked outrage for “queerbaiting” lesbian and bisexual women in the gaming community, but criticisms pointed toward the game have failed to address its most pernicious argument. By placing the controversy within the historical context of the 1930s Hays Production Code, examining one of the game’s central lessons in conversation with philosopher Lauren Berlant’s concept of “cruel optimism” and critical theorist Lee Edelman’s anti- reproductive definition of queerness, I contend that Life is Strange (2015) reveals the inability of adherents to heteropatriarchal ideals to conceive a world beyond the current, oppressive system by which we live. The 2015 video game Life is Strange by Raoul Barbet and Michel Koch has sparked outrage for “queerbaiting” lesbian and bisexual members of the gaming community, but criticisms pointed toward the game have not yet gone far enough to dissect why its conclusion agitates queer players and what its agenda fails to do. By placing the phenomenon of contemporary queerbaiting within the historical context of the 1930s Hays Production Code, examining one of the game’s central moral takeaways in conversation with philosopher Lauren Berlant’s concept of “cruel optimism,” and then complicating that reading with critical theorist Lee Edelman’s anti-reproductive definition of queerness, I contend that Life is Strange (2015) reveals the inability and reluctance of uncritical adherents to heteropatriarchal ideals to conceive of a world not steeped in such ideology. -
An Analysis and Expansion of Queerbaiting in Video Games
Wilfrid Laurier University Scholars Commons @ Laurier Cultural Analysis and Social Theory Major Research Papers Cultural Analysis and Social Theory 8-2018 Queering Player Agency and Paratexts: An Analysis and Expansion of Queerbaiting in Video Games Jessica Kathryn Needham Wilfrid Laurier University Follow this and additional works at: https://scholars.wlu.ca/cast_mrp Part of the Communication Technology and New Media Commons, Gender and Sexuality Commons, and the Gender, Race, Sexuality, and Ethnicity in Communication Commons Recommended Citation Needham, Jessica Kathryn, "Queering Player Agency and Paratexts: An Analysis and Expansion of Queerbaiting in Video Games" (2018). Cultural Analysis and Social Theory Major Research Papers. 6. https://scholars.wlu.ca/cast_mrp/6 This Article is brought to you for free and open access by the Cultural Analysis and Social Theory at Scholars Commons @ Laurier. It has been accepted for inclusion in Cultural Analysis and Social Theory Major Research Papers by an authorized administrator of Scholars Commons @ Laurier. For more information, please contact [email protected]. Queering player agency and paratexts: An analysis and expansion of queerbaiting in video games by Jessica Kathryn Needham Honours Rhetoric and Professional Writing, Arts and Business, University of Waterloo, 2016 Major Research Paper Submitted to the M.A. in Cultural Analysis and Social Theory in partial fulfillment of the requirements for Master of Arts Wilfrid Laurier University 2018 © Jessica Kathryn Needham 2018 1 Abstract Queerbaiting refers to the way that consumers are lured in with a queer storyline only to have it taken away, collapse into tragic cliché, or fail to offer affirmative representation. Recent queerbaiting research has focused almost exclusively on television, leaving gaps in the ways queer representation is negotiated in other media forms. -
'Just Like Us'?
‘Just like us’? Investigating how LGBTQ Australians read celebrity media Lucy Watson A thesis submitted to fulfil requirements for the degree of Doctor of Philosophy Faculty of Arts and Social Sciences The University of Sydney 2019 Statement of originality This is to certify that to the best of my knowledge, the content of this thesis is my own work. This thesis has not been submitted for any degree or other purposes. A version of Chapter Nine appears in the book Gender and Australian Celebrity Culture (forthcoming), edited by Anthea Taylor and Joanna McIntyre. I certify that the intellectual content of this thesis is the product of my own work and that all the assistance received in preparing this thesis and sources have been acknowledged. Lucy Watson 25th September 2019 i Abstract In the 21st century, celebrity culture is increasingly pervasive. Existing research on how people (particularly women) read celebrity indicates that celebrity media is consumed for pleasure, as a way to engage in ‘safe’ gossip amongst imagined, as well as real, communities about standards of morality, and as a way to understand and debate social and cultural behavioural standards. The celebrities we read about engage us in a process of cultural identity formation, as we identify and disidentify with those whom we consume. Celebrities are, as the adage goes, ‘just like us’ – only richer, more talented, or perhaps better looking. But what about when celebrities are not ‘just like us’? Despite relatively recent changes in the representation of lesbian, gay, bisexual, transgender and queer (LGBTQ) life in the media, the world of celebrity is an overwhelmingly heterosexual one. -
Table of Content
Table of Content Introduction.................................................................................................................................... Chapter I: The Misrepresentation.................................................................................................1 1. Wolverine vs. Northstar.......................................................................................................3 2. Rawhide Kid........................................................................................................................7 3. Freedom Ring......................................................................................................................9 4. Punisher.............................................................................................................................11 5. Hulk vs. YMCA.................................................................................................................13 6. Superior Iron Man.............................................................................................................18 Chapter II: Coming Out As a Mutant: Queerness in X-men Comics..........................................22 1. Legacy Virus – the Image of AIDS in Comics...................................................................24 2. How (Not) To Be A Mutant – Acceptance And Self-acceptance........................................29 Chapter III: Bisexuality and Gender Transgression in the Marvel Universe...............................33 1. The Case of Peggy Carter vs. Howard -
Davenport2019.Pdf
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. 6/3/2019 _But They're Gay Though_ How LBGTQ+ Audiences Are Queering Contemporary Drama vFINAL - Google Docs “But They’re Gay Though”: How LGBTQ+ Audiences Are Queering Contemporary Drama A PhD Thesis By Alexandria D. Davenport PhD Sociology The University of Edinburgh 2018 https://docs.google.com/document/d/1CvUYdAB5a71jCdNeMF_MFA2b0LKXLElXgL6ssUuJCoE/edit?ts=5cf47848 1/182 6/3/2019 _But They're Gay Though_ How LBGTQ+ Audiences Are Queering Contemporary Drama vFINAL - Google Docs I, Alexandria Douglas Davenport, certify that this PhD thesis is my own independent work. All data was gathered and analysed by myself, without assistance from anyone else. No work contained in this thesis has been published in any other format. All work referenced in this thesis that is not my own has been properly cited and listed throughout the body of the thesis and in the references. -
Examining Diversity in Youtube Music Videos with Queer Women Couples from 2006-2019
Syracuse University SURFACE Theses - ALL May 2020 Examining Diversity in YouTube Music Videos with Queer Women Couples from 2006-2019 Sierra A. Holland Syracuse University Follow this and additional works at: https://surface.syr.edu/thesis Part of the Social and Behavioral Sciences Commons Recommended Citation Holland, Sierra A., "Examining Diversity in YouTube Music Videos with Queer Women Couples from 2006-2019" (2020). Theses - ALL. 398. https://surface.syr.edu/thesis/398 This Thesis is brought to you for free and open access by SURFACE. It has been accepted for inclusion in Theses - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract This quantitative study examines the diversity of women1 included in music videos with relationships between two women through a comparative content analysis. Informed by intersectionality and queer theory, this study investigated the racial diversity, body diversity, gender performance, and tropes present in music videos with queer women couples (n=473) through a quantitative content analysis. This study also compared the diversity and tropes present in music videos made by musicians who identify as lesbian, bisexual, pansexual, and queer women and music videos made by non-queer musicians. Quantitative data was collected and reported for musicians who identify outside of the gender binary (e.g. non-binary, gender non- conforming, agender), but they were not included in the comparative analysis2. This thesis reports that the majority of women included in these music videos are white (62.79%), thin (98.73%), feminine (79.07%). In addition, the music videos often contained themes that exploit queer women’s sexuality either by a non-queer artist trying to gain queer women’s viewership or by portraying queer women’s relationships as for men’s pleasure. -
Emma and Regina Made Me Realize I Was Gay”: a Study on LGBT Identity Formation in Femslash Fan Communities
“Emma and Regina made me realize I was gay”: A study on LGBT identity formation in femslash fan communities Master’s Thesis Emmi Aalto University of Jyväskylä Department of Language and Communication Studies English 05/05/2020 1 JYVÄSKYLÄN YLIOPISTO Tiedekunta – Faculty Laitos – Department Humanistis-yhteiskuntatieteellinen tiedekunta – Kieli- ja viestintätieteiden laitos – The Department Faculty of Humanities and Social Sciences of Language and Communication Studies Tekijä – Author Emmi Aalto Työn nimi – Title “Emma and Regina made me realize I was gay”: A study on LGBT identity formation in femslash fan communities Oppiaine – Subject Työn laji – Level Englanti – English Maisterintutkielma – Master’s thesis Aika – Month and year Sivumäärä – Number of pages 5/2020 145 + 3 liitettä/appendices Tiivistelmä – Abstract Tämän maisterintutkielman ensisijainen tarkoitus on selvittää, miten femslash-nettifaniyhteisöön kuuluminen auttaa LGBT-identiteetin muodostamisessa. Tutkielmasta myös selviää, onko femslash- faneilla erilaisia seksuaali- ja sukupuoli-identiteettejä internetissä verrattuna muuhun sosiaaliseen elämäänsä, millaista tukea kyseisiltä faniyhteisöiltä voi saada ja mitä vähemmistöihin liittyviä asioita näissä yhteisöissä voi oppia. Tutkielman toinen tavoite on käsitellä femslash-faniyhteisöissä tapahtuvaa ja niihin kohdistuvaa syrjintää ja ennakkoluuloja. Tämän lisäksi tutkielmassa käsitellään seksuaali- ja sukupuolivähemmistöjen mediarepresentaatioita ja niiden vaikutuksia seksuaali- ja sukupuolivähemmistöihin. Tutkielmaa varten tehtyyn