Expressive Character Identity of Teen Lesbian Characters on Glee & Pretty

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Expressive Character Identity of Teen Lesbian Characters on Glee & Pretty Expressive character identity of teen lesbian characters on Glee & Pretty Little Liars Master’s thesis Elisa Rahikainen University of Jyväskylä Department of language and communication studies English Autumn 2017 JYVÄSKYLÄN YLIOPISTO Tiedekunta – Faculty Laitos – Department Humanistis-yhteiskuntatieteellinen tiedekunta Kieli- ja viestintätieteiden laitos Tekijä – Author Elisa Rahikainen Työn nimi – Title Expressive character identity of teen lesbian characters on ‘Glee’ & ‘Pretty Little Liars’ Oppiaine – Subject Työn laji – Level Englannin kieli Maisterin tutkielma Aika – Month and year Sivumäärä – Number of pages Lokakuu 2017 97 Tiivistelmä – Abstract Seksuaalivähemmistöjen asema heteronormatiivisessa yhteiskunnassa on puhututtanut ahkerasti muutaman viime vuosikymmenen aikana. Globaalisti seksuaalivähemmistöjä laajalle yleisölle ovat tehneet tutuiksi populaarikulttuuriset valtavirtasisällöt kuten amerikkalaiset elokuvat ja televisiosarjat. Monet nuoret, jotka vasta rakentavat omaa seksuaali-identiteettiään, ammentavat vaikutteita näistä sisällöistä, erityisesti heidän ikäryhmilleen kohdistetuista tuotannoista kuten nuorten sarjoista. Siten on tarpeellista tutkia seksuaalivähemmistöjä edustavien fiktiivisten hahmojen kokonaisvaltaisia representaatioita suosittujen amerikkalaisten nuorten sarjojen kontekstissa ja päivittää tutkimus 1990-luvulta nykypäivää heijastavaksi. Tässä tutkielmassa tarkastelun kohteena ovat nuorten sarjoissa Glee ja Valehtelevat viettelijät (eng. Pretty Little Liars) esiintyvät lesbohahmot Santana Lopez ja Emily Fields. Erityisesti havainnoinnin kohteena ovat hahmojen ilmaisulliset identiteetit (expressive character identity), jotka rakentuvat ilmaisullisten keinojen kuten kielen, ilmeiden ja äänenkäytön kautta. Kontekstina näiden ilmaisullisten identiteettien esiintymiselle ovat narratiivit liittyen hahmojen kaapista ulostuloon. Aineistoksi on valittu yhteensä kahdeksan kohtausta, neljä kummastakin sarjasta, käsitellen hahmojen elämiä ennen ulostuloa, ulostulon aikana ja ulostulon jälkeen. Aineistoa tarkastellaan lisäksi queer teorian näkökulmasta keskittyen erityisesti heteronormatiivisuuden ilmentymiseen. Lopullisten havaintojen perusteella Emilyn ja Santanan hahmot ilmentävät negatiivisia tunteellisia ja asenteellisia ilmaisullisia identiteettejä, jotka rakentuvat erityisesti kielellisten, visuaalisten ja paralingvistisien keinojen myötä. Erityisen huomioitavaa on hahmojen identiteettien kehitys narratiivin edetessä. Esimerkiksi ulostulon jälkeen identiteetit heijastavat päättäväisyyttä ja itsevarmuutta olla oma itsensä. Lisäksi häpeän esiintyminen on vain marginaalisessa osassa, kun puolestaan rehellisyyttä ilmennetään suuressa osassa aineistoa, viitaten pyrkimykseen kertoa avoimesti omista tunteistaan ja seksuaali-identiteetistä tuntematta häpeää. Queer teorian näkökulmasta heteronormatiivisuutta sekä vahvistetaan että haastetaan, mutta homoseksuaalisuus katsotaan lähtökohtaisesti normista poikkeavana. Asiasanat – Keywords characterization, media, queer theory, popular culture, TV series Säilytyspaikka – Depository JYX Muita tietoja – Additional information Table of Contents 1. Introduction ........................................................................................................................ 1 2. Background ......................................................................................................................... 4 2.1 Language and characterization of televisual characters .............................................. 4 2.1.1 Expressive character identity ............................................................................... 7 2.1.2 Expressive features .............................................................................................. 9 2.2 Cinematographic elements ........................................................................................ 10 2.3 Queer theory .............................................................................................................. 12 2.3.1 The queer eye of television research .................................................................. 14 2.4 Studying fictional television...................................................................................... 19 2.4.1 The genre of teen drama .................................................................................... 21 3. Present study ................................................................................................................. 23 3.1 Aims of the study ...................................................................................................... 23 3.2 Research questions .................................................................................................... 23 3.3 Data ........................................................................................................................... 24 3.3.1 Units of data ....................................................................................................... 25 3.3.2 Glee & Santana Lopez ....................................................................................... 26 3.3.3 Pretty Little Liars & Emily Fields ..................................................................... 27 3.4 Methods of analysis ................................................................................................... 28 4. Analysis ............................................................................................................................ 32 4.1 Before coming out ..................................................................................................... 32 4.1.1 Scene 1A ............................................................................................................ 32 4.1.2 Scene 1B ............................................................................................................ 38 4.1.3 Scene 2A ............................................................................................................ 43 4.1.4 Queer talk: Before coming out ........................................................................... 48 4.2 Coming out ................................................................................................................ 49 4.2.1 Scene 2B ............................................................................................................ 49 4.2.2 Scene 3A ............................................................................................................ 55 4.2.3 Queer talk: Coming out ...................................................................................... 61 4.3 After coming out ....................................................................................................... 62 4.3.1 Scene 3B ............................................................................................................ 63 4.3.2 Scene 4A ............................................................................................................ 68 4.3.3 Scene 4B ............................................................................................................ 73 4.3.4 Queer talk: After coming out ............................................................................. 79 4.4 Summary & character comparison ............................................................................ 80 4.4.1 Overview ............................................................................................................ 80 4.4.2 Comparing characters ........................................................................................ 82 5. Discussion ......................................................................................................................... 85 6. Bibliography ........................................................................................................................ 88 1 1. Introduction Sexual minorities have slowly begun to establish their position in the globalizing world. In recent years, the community’s quest for equality has been fruitful as, for example, marriages between same-sex couples have been legalized in several countries, most notably in the United States of America. However, lesbian, gay, bisexual, transgender (LGBT) and other sexual minority groups still encounter prejudice, stereotyping and borderline hatred. Thus, not all of the goals of sexual minorities have been reached and the struggle to openly be one self is yet to be over. The LGBT community’s phenomenally expanded presence in the media during the last couple of decades can be argued to have contributed to the community’s recent strides for equality. In particular, sexual minority portrayals on broadcast and cable channels on television are more extensive than ever before (GLAAD: Where are we on TV Report 2015). However, popular culture as a commercialized product arguably enforces heteronormative sexuality by representing differing sexualities as the other (Pennycook 2007: 82). It is very common for people to rely on television to show them realistic portrayals of the LGBT community, since for many, television still remains as the window to the world (Gross 1991; Hart 2000; Meyer 2003; Raley and Lucas 2006; Linneman 2008; Frei 2012). Thus, it is important to have representations that offer a multitude of depictions of the LGBT community (Evans 2007: 3). Television is also a medium that has the ability to create “immediate intimacy” so that for many viewers reality and fiction can become intertwined and television can become
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