6. Screening Intersex at Prime Time Intersex In/As a State of Emergency and Popular Culture’S Un/Acceptable Interventions
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6. Screening Intersex at Prime Time Intersex in/as a State of Emergency and Popular Culture’s Un/Acceptable Interventions 6.1 MAINSTREAMING INTERSEX II: MEDICAL DRAMA SERIES BETWEEN ENTERTAINING AND EDUCATING THE MASSES Over the last years, the theme of intersex has increasingly aroused public interest and mainstream media attention, indicating its significance beyond the scope of intersex activist communities and the medical establishment. While mainstream media coverage still is not overall accurate in its representations of intersex, it however provides a platform for intersex activists to promote their own views on intersex. Intersex themes have been covered in a number of American television and radio shows, documentaries, newspapers and magazines. Mainstream media formats increasingly rely on expert opinions from representatives of intersex activist organizations when featuring intersex themes. Hida Viloria, chairperson of OII and director of OII USA, is frequently invited to talk about intersex on North American television and radio shows and appeared in several documentaries on the topic.1 Members of Inter/Act, an intersex youth organization, produce their own educational video clips and act as media consultants on intersex representation, particularly on social media platforms. One of the positive consequences of the public attention paid to intersex themes is the growing visibility of intersex individuals within society. A carefully researched program has the potential to educate its viewers about intersex and to correct common, often harmful, misconceptions. While the last decade has witnessed a gradually emerging discussion of intersex themes in the mainstream media, intersex subjects still suffer from an under- representation in fictional popular culture formats, particularly in films and television 1 For an overview see Viloria’s homepage at http://hidaviloria.com/category/video. 242 | INTERSEX NARRATIVES series. To date, there exists not one single mainstream film produced in the US or Canada that features an intersex character or addresses the topic of intersex.2 The conspicuous absence of intersex characters on the big and the small screens suggests that such a theme is considered either too intricate, too particular, or simply not interesting enough to attract a broader audience. Yet one particular genre in popular culture has featured intersex storylines remarkably often: the medical drama. Over the last two decades, four of the most popular American medical drama television series running between the mid-1990s and the present each featured an episode dealing with an intersex ‘case’: Chicago Hope, Emergency Room, House, and Grey’s Anatomy. The fact that the theme of intersex is to date almost exclusively featured in medical series reveals much about the general notion of intersex as a ‘medical problem’ that needs to be ‘dealt with.’3 As such, the (fictional) hospital seems to be the ‘appropriate’ place for accomplishing this task, and hence the site of cultural renegotiations of intersex representations. In the ensuing chapter, I analyze the four episodes of said medical series and their representations of intersex characters and themes, focusing on the episodes’ narrative and visual representational strategies, and interrogating how specific narratives and discourses about the constitution of sexed corporeality and gender are interrelated, and how these narrative intersections provide the conditions for the intelligibility of intersex. The question of intersex (resisting) representations becomes all the more central for visual representations of intersex, where representational strategies have to be considered on several levels. Whereas in textual narratives, visual representations have to be achieved by narrative means solely, the visuals in television productions add another layer of representation, which might either affirm or contradict the textual/verbal messages. Hence, I seek to investigate to what extent the television series offer meaningful interventions in the context of intersex (and) representation. 2 An exception is the independent film Both (2005) directed by Lisset Barcellos, a co- production between USA and Peru. While the film was screened at various LGBTQ film festivals around the US and Canada, it is relatively unknown beyond the intersex and queer scenes. 3 One episode of the American crime drama television series Law & Order: Special Victims Unit, “Identity” (season 6, episode 12, original airdate: January 18, 2005), features a plot based on the true story of the ‘John/Joan’ case made famous by psychologist John Money. In the SVU episode, a pair of twins, a boy and a girl, is involved in a sexually motivated crime, and during the investigation it is revealed that the girl was born as a boy who after a circumcision accident was raised as female. However, while the ‘John/Joan’ case had tremendous consequences for the treatment of intersex infants, the character in the SVU episode is not intersex and the episode does not deal directly with the theme of intersex. SCREENING INTERSEX AT PRIME TIME | 243 I proceed from the claim made by bell hooks that “cultural studies’ focus on popular culture can be and is a powerful site for intervention, challenge, and change” (hooks 1994: 4). The question of television programs’ or producers’ responsibility for the ideological messages they convey is indispensable for a discussion of how the framing of intersex representations within mass culture can contribute to a mainstream understanding of intersex, and how such a framing might be beneficial or harmful to fair and equal intersex representations on TV. In her discussion of primetime television dramas, Carlen Lavigne contends that “[i]n the light of the popularity of television [...] dramas, it seems prudent to investigate the political nature of their prime-time messaging” (Lavigne 2009: 383). Katherine Ann Foss argues that medical dramas have an influence on public perceptions of health issues and have, at least to some extent, a certain educational effect on viewers (Foss 2008: 5). Foss further notes that “[a]s media portrayals of health professionals shifted over time, viewers’ perceptions also changed,” specifically with regard to representations of the diversity of doctors, as well as their ethical responsibility for health and their fallibility (Foss 2008: 7). A common point of contention is whether fictional medical series just reveal cultural norms prevailing in North American culture and society, or whether they have a stake in their reaffirmation and the production of dangerous images and ideas of intersex. Equally controversial is the question of the responsibility of medical series to convey ‘accurate’ (medical) information, and of educating viewers on health related matters. Picking up on bell hooks’ “conviction that ‘many audiences in the US resist the idea that images have an ideological content’” (Marie-France Alderman, in hooks 1994: 39), I argue that TV representations of intersex now more than ever have a responsibility for the norms they convey, and (potentially) reaffirm and reproduce. Hence my analysis of the four episodes under consideration takes into account the ethical dimensions of their intersex representations, in particular in the light of the actual human rights violations of intersex individuals. I interrogate how the episodes’ narratives problematize medical representations of intersex, as well as the episodes’ levels of self-reflexivity regarding their own perpetuations of the ‘violence of representation.’ The narrative strategy of positioning characters within the inevitable doctor/patient structure of the series forecloses, or at least delimits, the possibility to imagine intersex outside these either/or categories. The structure of the medical series casts every character who is not a member of the medical staff as a patient (or relatives of either the patients or the staff). This strategy is problematic, as generally, fictional medical staff does not include intersex persons. Characters who are relatives of patients are largely underdeveloped, flat characters; lovers or spouses of medical staff either remain marginal, or are medical staff themselves (as romantic involvements often take place among medical staff). In order to challenge these dominant and superficial ideas of intersex, television series need to include and 244 | INTERSEX NARRATIVES explore recurring intersex characters more in depth. To date, this vision has not materialized. Yet the representations of intersex characters as patients require more careful scrutiny. I argue that despite the seemingly unavoidable doctor/patient framework, these representations cannot be entirely dismissed as mere reiterations of hegemonic power relations between medical establishment and the intersex individual. Hence, my analysis turns its focus on the conditions for intersex intelligibility within this framework. Questions of intersex representations intersect with several aspects that are more indirectly related to intersex themes. It is striking that all the intersex characters (infants or adolescents) and their parents are white and apparently lower middle class. An obvious reason for the exclusive whiteness of intersex characters is the general underrepresentation of Black characters or people of color in mainstream film and television. While most medical series have at least one or several medical doctors or staff who are people of color, apparently a character can only either be intersex or Black/of color