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Queer Affluence, Popular Media, and the Matter of the Openly Gay Spokesperson

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Queer Affluence, Popular Media, and the Matter of the Openly Gay Spokesperson Queer Affluence, Popular Media, and the Matter of the Openly Gay Spokesperson A Dissertation presented to the Faculty of the Graduate School at the University of Missouri-Columbia In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy By Owen L. Pillion Dr. Michael J. Porter, Dissertation Supervisor August 2007 The undersigned, appointed by the dean of the Graduate School, have examined the dissertation entitled QUEER AFFLUENCE, POPULAR MEDIA, AND THE MATTER OF THE OPENLY GAY SPOKESPERSON Presented by Owen L. Pillion, a candidate for the degree of doctor of philosophy, and hereby certify that, in their opinion, it is worthy of acceptance. ________________________________________ Professor Michael J. Porter ________________________________________ Professor Elisa Glick ________________________________________ Professor Mitchell McKinney ________________________________________ Professor Jennifer Aubrey ________________________________________ Professor Andrew Hoberek ACKNOWLEDGEMENTS I would like to sincerely thank my advisor, Dr. Michael J. Porter for his advice, guidance, direction and endless enthusiasm for my project on queer affluence. His positive attitude, willingness to quickly turn around draft copies, and gentle nudges were invaluable in helping me complete this project. His support for my work has never wavered, and I am truly grateful that he has been my advisor throughout my doctoral program. I have learned to be a better writer and teacher because of his passion for media communication. I gratefully acknowledge all the members of my committee who have given their time to read this manuscript and who have also offered valuable advice during my graduate career at The University of Missouri. Elisa Glick has served as a major mentor and role model for me. Her insightful comments, thoughtful suggestions, and continual support have helped me write a better dissertation. Her research and her teaching continue to inspire me. I have dreamed of completing my doctorate since I was in high school. It has been a long time coming. My family and friends have helped me realize my dream and have seen me me through this endeavor. I will always be indebted to and thankful for my Mom and Mark who have supported me every step of the way in my educational pursuits. My aunt, Connie Piotrowski, is the first person in my family to pursue higher education, and her love and friendship means the world to me. She has always been a cheerleader in my court. My best friends have also inspired and believed in me and each of them, in their own way, has given me the drive necessary to complete this project. Thank you: Rene Karolinski, Daven Shirejian, Gary Gaddis, Elizabeth Dudash, and Rose Jergens. Finally, I want to thank James Kinney who turned over his home to me for six weeks in the summer of 2007 to ensure that I would be able to say: Mission accomplished! I could not have done this without him. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS.............................................................................................ii LIST OF FIGURES........................................................................................................ iv ABSTRACT ................................................................................................................... v Chapter 1. INTRODUCTION ................................................................................................ 1 2. LITERATURE REVIEW.................................................................................... 18 3. QUEER AFFLUENCE AND POPULAR MEDIA.............................................. 53 4. QUEER AFFLUENCE AND THE OPENLY GAY SPOKESPERSON.............. 89 5. CONCLUSION ................................................................................................ 109 APPENDIX 1. FIGURE 1 ........................................................................................................ 120 2. FIGURE 2 ........................................................................................................ 121 3. FIGURE 3……………………………………………………………………….122 4. FIGURE 4……………………………………………………………………….123 5. FIGURE 5……………………………………………………………………….124 REFERENCES ........................................................................................................... 125 VITA .......................................................................................................................... 134 iii LIST OF FIGURES Figure Page 1. The Epitome of Queer Affluence……………………………………………………120 2. I’d Rather Be Shopping……………………………………………………………...121 3. The Affluencers—Male and Female………………………………………………..122 4. The Affluencers—Female…………………………………………………………..123 5. The Affluencers—Male……………………………………………………………..124 iv Abstract This dissertation looks at queer representation in the media and highlights a particular representational strategy that is used in a stereotypical fashion. My first chapter does two things. First, it centers on an exemplar to anchor a discussion regarding the substance and ubiquity of the image of queer affluence. Second, I provide context for the image by pointing to the tenuous status of GLTB issues in politics at the same time popular media is expanding its repertoire of GLTB images. The crux of chapter two, in addition to reviewing scholarly work, is to argue that queer representations are cumulative over time. The assumption that the representations are cumulative is important because that quality provides the rationale for looking at selected images at particular times in order to understand images that came later. With that assumption in place, chapter three examines the construction of Leopold and Loeb as an early exemplar of queer affluence that was then recycled in the films noir of the 1940s and 1950s. I look at the construction of the queer men in these films and chart their relation to the stereotype of queer affluence seen in television programming today. In Chapter four, I analyze queer celebrity spokespeople, figures that I believe are intertextually related to all the images that came before them. Finally, I conclude by painting queer affluence as a representational strategy that is deeply invested in both maintaining sexual differences and assimilating the affluent queer into mainstream culture at the same time minimizing any hints of radical politics and leaving many non-affluent queers behind. v Chapter One: Introduction “By midnight Charlotte discovered Manhattan’s latest group to flaunt their disposable income—The Power Lesbian. They seem to have everything. Great Shoes. Killer eye- wear. And the secrets to invisible makeup.” - from the television program Sex and the City episode “The Cheating Curve” “We’re also not going to tell you to go out and spend $70,000 you don’t have on a renovated kitchen—or even $7 on a glass of wine you don’t want. It’s not about spending money, guys: It’s about spending thought.” - The Fab Five from the introduction to their book Queer Eye for the Straight Guy (p.13) “My life is about dancing to my own tune. My American Express Card always backs me up.” - Ellen DeGeneres in television ad for American Express Can you afford to be gay? I want to consider this question’s literal meaning. Increasingly, popular culture has shown us that what it means to be gay is to be affluent, white, and to have an insatiable appetite for consuming products. And not just any products, but the best, most expensive the market has to offer. This representational strategy is best summed up by the name of the new gay cable channel: Logo. According to the channel’s website they chose this name because, “For us, the word logo is about identity, about being comfortable in your own skin. It’s about being who you are.” Of course, any dictionary would show that the word logo is not about personal identity at all—it is about corporate identity—a symbol that stands in for or identifies a company and its products. Naming the channel Logo—where “for the first time ever Gay America 1 has a home on television where we can go to see ourselves”— is revealing because the name solidifies the association between consumer and queer cultures.1 This association is pervasive in the media, and is at the heart of this dissertation. In fact, more and more, as queers are commodified as images in the mass media, signifiers of capitalism surface within these very depictions. For example, consider the language used in a Reuters article discussing the influence the film Brokeback Mountain (Ang Lee, 2005) has had on Hollywood by Neil Giuliano, the President of the Gay and Lesbian Alliance Against Defamation: Gay people are now living more honest and open lives and that leads to others wanting to know more about our lives. People want this product and we can provide it in a compelling and powerful way that can be profitable. (Tourtellotte 2006) In this article about how groundbreaking the film is in terms of its portrayal of gay men, I find it striking that the leader of a major GLTB organization’s comments are in terms of the profitability of such images. When did queers and capitalism become such cozy bedfellows? What is their relation? My opening quotations and the two brief examples above are illustrations of precisely this linkage. When we look to the history of gay and lesbian representation in popular culture—the stereotype of queer affluence emerges. That is, images of queer people in film or on television, and especially openly gay spokespeople, are often images infused with capitalist discourse (e.g. profit, affluence,
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