Gay Male and Lesbian Youth in the American (Tv) Family: Understanding Their Representation on U.S
Total Page：16
File Type：pdf, Size：1020Kb
GAY MALE AND LESBIAN YOUTH IN THE AMERICAN (TV) FAMILY: UNDERSTANDING THEIR REPRESENTATION ON U.S. TELEVISION IN THE EARLY 2000s Tara Marie Kachgal A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the School of Journalism and Mass Communication. Chapel Hill 2008 Approved by Advisor: Jane D. Brown, Ph.D. Reader: E. Jane Burns, Ph.D. Reader: Rhonda Gibson, Ph.D. Reader: Ken Hillis, Ph.D. Reader: Anne Johnston, Ph.D. 2008 Tara Marie Kachgal ALL RIGHTS RESERVED ii ABSTRACT TARA MARIE KACHGAL: Gay male and lesbian youth in the American (TV) family: Understanding their representation on U.S. television in the early 2000s (Under the direction of Jane D. Brown, Ph.D.) The purpose of this dissertation is to better understand TV programming from the early 2000s that was positioned as addressing the important issues faced by gay male and lesbian youth and their families in the United States. With an emphasis on writers, producers, network executives and on fan and advocacy groups, the chapters examine specific efforts by these “insiders” and “outsiders” to work within television’s genre codes and socioeconomic infrastructure to redress the stigma of youth homosexuality. Using a case study approach, three texts are examined: a made-for-TV movie, The Truth About Jane, that premiered on the cable channel Lifetime in 2000; a storyline involving Bianca Montgomery on the ABC soap opera, All My Children, from 2002–2005; and the Chicago (2002) season of The Real World. Each chapter investigates how the implicit goal of both groups is often constrained by factors ranging from perceptions of what the audience, networks, and sponsors are “ready for” to an investment in using a specific visibility strategy (mainstreaming) to promote gay rights. A key argument is that the liberal efforts of both groups were often compromised because they did not critically interrogate core assumptions about gender and sexual norms, tolerance, and acceptance. iii Finally, how these three texts and others addressing issues faced by gay youth and adults, and their respective families, were embedded in the broader cultural politics of the early-to-mid-2000s is considered. How these texts were inserted in, and framed by, debates over gay rights in various spheres such as marriage and parenting is delineated, showing that the backlash to gay rights claims that was seen in the broader political sphere was sometimes enacted by and through television. The final chapter also scrutinizes the mutually dependent relationship between TV makers and media advocacy groups, asking whether this constrains not only representational possibilities afforded to gay male and lesbian youth but the potential for social and political change. iv ACKNOWLEDGEMENTS Writing a dissertation, I have learned, is a joint effort. Though I was the one to put pen to paper, so to speak, many others influenced, supported, and assisted my work, over a number of years; their involvement not only enabled me to complete this project but to grow academically and personally. To start with, I would like to thank the Roy H. Park Foundation, whose generous fellowship funded my early years of doctoral study. I also want to thank UNC-CH’s School of Journalism and Mass Communication. It is hard to imagine a more supportive and nurturing environment to develop as a scholar. I appreciate the collegiality and friendship fostered there by graduate students, faculty, and staff alike. Peers like Jonathan Lillie, Brian Carroll, and the late Deb Kaplan have not only been wonderful friends but influential in my formative development. Carol Pardon, with whom I had the pleasure of working for as a research assistant on the “Teen Media” project team, also taught me a lot. Cynthia Anderson, Student Services Manager, has provided invaluable assistance and encouragement to me and countless other graduate students in the School over several years; she deserves special thanks and acknowledgement. Friends like Collin Lee, Sylvia Grant, and Jackie Pilgrim have also supported this project, each in his or her own way. I also appreciate the encouragement provided by my cousin Charles Sowards. My younger siblings – Cassandra Leigh Grim, William Michael Grim, and Mohan Kachgal – have made my life infinitely richer, and I appreciate their love over many years. v My father, Vasudev K. Nayak, has continually striven to make my life better. I appreciate everything he has done for me. My stepmother, Padmini Kachgal, has also steadfastly encouraged me in my academic efforts – and life in general; I thank her. Lucila Vargas, a faculty member in the School, not only provided excellent advice on research methods but was also a supportive friend and mentor. Paul Lai has been a close friend for several years, and he has enriched my life in so many ways with his intellectual curiosity, fairness, and honesty. I will always look back fondly at our many broad-ranging conversations, which, no doubt, have played a role in shaping this dissertation. During the last year of writing, I had the privilege of working with a wonderful writing coach, Patrick B. Inman, who helped me reconceptualize the project. Every time I met with him I learned something new, exciting, and useful. He deserves more thanks than I can give him. I also appreciate the helpful ear and sound advice given to me, during this latter stage of writing, by G. And, I must also acknowledge Rich Cante, whose excellent course on queer theory I took several years ago. My committee members have all played a pivotal role in shaping this project. E. Jane Burns provided me with a wonderful foundation in feminist theory, women’s studies, and the humanities that I will call on for years to come. Always genuinely interested in, and supportive of, my work, Rhonda Gibson challenged me to think in new ways. Ken Hillis, one of the most intellectually stimulating teachers and supportive mentors I have ever had, never lost faith in me. Anne Johnston contributed keen insights about popular culture and women in mass communication, and she encouraged me to be more reflexive. Della Pollock taught me a great deal about writing and cultural studies, and she pushed me to think about why cultural criticism matters. vi My sister Mera Kachgal has, save for a few minutes, always been there for me. I do not know what I would do without her… And, I simply cannot thank M. enough for everything she has done for me. She has steadfastly encouraged and guided me “through the long haul,” and I am a better person because of her. Her continual nudging and problem-solving spurred me to finish writing, and I am very grateful. Finally, I do not know how to convey the influence my chair and adviser, Jane D. Brown, has had on both this project and my life, overall. She never lost faith in me, even in my most doubtful times, and her confidence in my thinking and writing has helped me beyond measure. At the same time, her example of scholarly excellence compelled, and will continue to compel, me to always expect more from myself. She took on a project far astray from her own work, and, in so doing, demonstrated the type of intellectual curiosity that I aspire to for myself. Jane is a model for living one’s life passionately and purposefully. I feel very fortunate to have been her student. vii TABLE OF CONTENTS LIST OF FIGURES……………………………………………………………………..... ix Chapter I. INTRODUCTION……………………………………………………........1 II. “ONE MOTHER'S LOVE”: A LIFETIME TELEFILM FOCUSES ON PARENTAL RESPONSES TO YOUTH HOMOSEXUALITY……………………………………………………..38 III. BEING ERICA KANE’S DAUGHTER: AN ANALYSIS OF ALL MY CHILDREN’S EARLY 2000s LESBIAN STORYLINE…………….................................................................................... 55 IV. THE “GAY COMFORT LEVEL”: EXAMINING A MEDIA ADVOCACY GROUP’S EFFORTS TO COMBAT YOUTH HOMOPHOBIA …………............................................89 IV. TELEVISION, FAMILY, AND CULTURAL STRUGGLE IN THE UNITED STATES IN THE EARLY 2000s…………………...106 APPENDICES…………………………………………………………………………. 128 REFERENCES………………………………………………………………………… 138 viii LIST OF FIGURES Figure 1. The visual composition of its video jacket furthers a reading of The Truth About Jane as a mother-daughter story, with Jane assuming the role of the uncertain teen and Janice, the protective mother……….………………............15 2. Erica, in the background in the first picture, walks in as Sarah embraces Bianca. In the third picture, Bianca emotionally confronts her mother………...20 3. The GLAAD report, “How Youth Media Can Help Combat Homophobia Among American Teenagers,” published in January 2003……....31 4. Jane finds herself wanting to spend more and more time with Taylor…………41 5. Jane and Janice at Ms. Wolcott’s house on the night Jane has run away……….44 6. Jane and Janice have forged a closer, and healthier, relationship by film’s end……………………………………………………………………...48 7. Elizabeth Hendrickson (Maggie) and Eden Riegel (Bianca) wear “Love is BAM” t-shirts that were given to them by BAM Fans who had organized a visit to AMC’s studios on December 16, 2002………………..62 8. A publicity still featuring Bianca and Maggie…………………………………..66 9. Michael Logan of TV Guide admonished All My Children writers for their unwillingness to pair up Bianca and Maggie……………………………...68 10. Lena’s and Bianca’s historic kiss occurring in Pine Valley Airport……………..72 11. The “baby switch” story arc, as covered by ABC Soaps in Depth in September 2004…………………………………………………………….83 12. A timeline showing the trajectory of lesbian viewers’ engagement with the Bianca post-coming out storyline during major plot developments………..88 13. Aneesa changes clothes in a public area of the loft on The Real World………….99 14. Map showing pertinent media texts and cultural events that occurred between 1995 and 2005……………………………………………………....107 15.