front cover of All the Rage
All the Rage
The Story of Gay Visibility in America
Suzanna Danuta Walters
University of Chicago Press, 2001
Splashed against the tumultuous Clinton years and framed by the clash between gay political might and anti-gay activism, All the Rage presents the first authoritative guide to the new gay visibility. From the public outing of Ellen DeGeneres to the vicious murder of Matthew Shepard, gay lives and images have moved onto the center stage of American public life. Lesbians and gay men are indeed everywhere, from television sitcoms to Budweiser ads, from the White House to the Magic Kingdom. Combining personal stories with incisive analysis, Suzanna Danuta Walters chronicles this historic moment in our culture, arguing that we live in a time when gays are seen, but not necessarily known.

Many consider the new gay visibility a sign of social acceptance, while others charge that it is mere window dressing, obscuring the dogged persistence of discrimination. Walters moves beyond these positions and instead argues that these realities coexist: gays are simultaneously depicted as the sign of social decay and the chic flavor of the month. Taking on the common wisdom that visibility means progress, All the Rage maps the terrain on which gays are accepted as witty accessories in movies, gain access to political power, and yet still fall into constrictive stereotypes. Walters warns us with clarity and wit of the pitfalls of equating visibility with full integration into the fabric of American society. From the playful TV fantasies of lesbian weddings on Friends to the very real obstacles confronting gay marriage, from the award-winning comedy Will & Grace to Bible-thumping radio superhost Dr. Laura, All the Rage takes on naive celebrants and jaded naysayers alike. With a sophisticated mix of caution and optimism, it provides an illuminating guide through these exciting, controversial times.
[more]

front cover of Closures
Closures
Heterosexuality and the American Sitcom
Grace Lavery
Duke University Press, 2024
From The Mary Tyler Moore Show to Arrested Development to BoJack Horseman, the American sitcom revolves around crises that must be resolved by episode’s end, with a new crisis to come next week. In Closures, Grace Lavery reconsiders the genre’s seven-decade history as an endless cycle of crisis and closure that formally and representationally frames heterosexuality as constantly on the verge of both collapse and reconstitution. She shows that even the normiest family-based sitcoms rely on queer characters like Alice (The Brady Bunch) and Steve Urkel (Family Matters) who highlight how the family is perpetually incomplete and unstable. Analyzing the genre’s techniques and devices such as the laugh track and the cringe pan, Lavery also charts the shift to friend-group and workplace sitcoms like Friends and The Office, which she contends reflect a weakening of social ties in ways that place characters in an unending state of becoming. With this capacious yet svelte queer and trans theorization of the sitcom, Lavery demonstrates that the family ties that bind the genre’s normative heterosexuality are far more tenuous than we have been led to believe.
[more]

front cover of Ethereal Queer
Ethereal Queer
Television, Historicity, Desire
Amy Villarejo
Duke University Press, 2013
In Ethereal Queer, Amy Villarejo offers a historically engaged, theoretically sophisticated, and often personal account of how TV representations of queer life have changed as the medium has evolved since the 1950s. Challenging the widespread view that LGBT characters did not make a sustained appearance on television until the 1980s, she draws on innovative readings of TV shows and network archives to reveal queer television’s lengthy, rich, and varied history. Villarejo goes beyond concerns about representational accuracy. She tracks how changing depictions of queer life, in programs from Our Miss Brooks to The L Word, relate to transformations in business models and technologies, including modes of delivery and reception such as cable, digital video recording, and online streaming. In so doing, she provides a bold new way to understand the history of television.
[more]

front cover of Freaks Talk Back
Freaks Talk Back
Tabloid Talk Shows and Sexual Nonconformity
Joshua Gamson
University of Chicago Press, 1998
Using extensive interviews, hundreds of transcripts, focus-group discussions with viewers, and his own experiences as an audience member, Joshua Gamson argues that talk shows give much-needed, high-impact public visibility to sexual nonconformists while also exacerbating all sorts of political tensions among those becoming visible. With wit and passion, Freaks Talk Back illuminates the joys, dilemmas, and practicalities of media visibility.

"This entertaining, accessible, sobering discussion should make every viewer sit up and ponder the effects and possibilities of America's daily talk-fest with newly sharpened eyes."—Publishers Weekly

"Bold, witty. . . . There's a lot of empirical work behind this deceptively easy read, then, and it allows for the most sophisticated and complex analysis of talk shows yet."—Elayne Rapping, Women's Review of Books

"Funny, well-researched, fully theorized. . . . Engaged and humane scholarship. . . . A pretty inspiring example of what talking back to the mass media can be."—Jesse Berrett, Village Voice

"An extraordinarily well-researched volume, one of the most comprehensive studies of popular media to appear in this decade."—James Ledbetter, Newsday
[more]

front cover of Gay TV and Straight America
Gay TV and Straight America
Becker, Ron
Rutgers University Press, 2006

After decades of silence on the subject of homosexuality, television in the 1990s saw a striking increase in programming that incorporated and, in many cases, centered on gay material. In shows including Friends, Seinfeld, Party of Five, Homicide, Suddenly Susan, The Commish, Ellen, Will & Grace, and others, gay characters were introduced, references to homosexuality became commonplace, and issues of gay and lesbian relationships were explored, often in explicit detail.

In Gay TV and Straight America, Ron Becker draws on a wide range of political and cultural indicators to explain this sudden upsurge of gay material on prime-time network television. Bringing together analysis of relevant Supreme Court rulings, media coverage of gay rights battles, debates about multiculturalism, concerns over political correctness, and much more, Becker's assessment helps us understand how and why televised gayness was constructed by a specific culture of tastemakers during the decade.

On one hand the evidence points to network business strategies that embraced gay material as a valuable tool for targeting a quality audience of well-educated, upscale adults looking for something "edgy" to watch. But, Becker also argues that the increase of gay material in the public eye creates growing mainstream anxiety in reaction to the seemingly civil public conversation about equal rights.

In today's cultural climate where controversies rage over issues of gay marriage yet millions of viewers tune in weekly to programs like Queer Eye for the Straight Guy, this book offers valuable insight to the complex condition of America's sexual politics.


[more]

front cover of Making Things Perfectly Queer
Making Things Perfectly Queer
Interpreting Mass Culture
Alexander Doty
University of Minnesota Press, 1993
Doty argues that films, television, and other forms of mass culture consistently elicit a wide range of queer (sexually liminal) responses, and suggests an interpretive framework for understanding mass culture that stands as a corrective to many standard cultural approaches. "Making Things Perfectly Queer illuminates both the potential and the limitations of queer theory as praxis in the analysis of mass culture. By weaving together queer theory and popular culture methods, Doty goes where few theorists have gone before. Doty's work offers an engaging discussion of shows seldom explored for their queer moments. This book is important because it illuminates the theoretical problems queerists encounter and creates a blueprint of possibilities for scholars working with similar materials." --Lesbian Review of Books "The strenght of Doty's writing is his incredible eye for the telling detail-the lines culled from 1940s Jack Benny shows are incridible nuggets of postmodern, found anaylsis--and a pervasive knowledge of popular culture that allows him to wander through film, video, and print materials, finding fragments which he brings back to his theme to construct an essay. What Doty has done is to place these ideas and arguments in a broader, contemporary, theoretical framework that incorporates clearer, more articulated ideas about feminist theory, gay and lesbian liberation." --Cineaste "Entirely original, unusually important, exceptionally well-argued, and engagingly written. Offers the kinds of readings of films and television that permanently alter the way one sees." --Constance Penley
[more]

front cover of The New Gay for Pay
The New Gay for Pay
The Sexual Politics of American Television Production
By Julia Himberg
University of Texas Press, 2017

Television conveys powerful messages about sexual identities, and popular shows such as Will & Grace, Ellen, Glee, Modern Family, and The Fosters are often credited with building support for gay rights, including marriage equality. At the same time, however, many dismiss TV’s portrayal of LGBT characters and issues as “gay for pay”—that is, apolitical and exploitative programming created simply for profit. In The New Gay for Pay, Julia Himberg moves beyond both of these positions to investigate the complex and multifaceted ways that television production participates in constructing sexuality, sexual identities and communities, and sexual politics.

Himberg examines the production stories behind explicitly LGBT narratives and characters, studying how industry workers themselves negotiate processes of TV development, production, marketing, and distribution. She interviews workers whose views are rarely heard, including market researchers, public relations experts, media advocacy workers, political campaigners designing strategies for TV messaging, and corporate social responsibility department officers, as well as network executives and producers. Thoroughly analyzing their comments in the light of four key issues—visibility, advocacy, diversity, and equality—Himberg reveals how the practices and belief systems of industry workers generate the conceptions of LGBT sexuality and political change that are portrayed on television. This original approach complicates and broadens our notions about who makes media; how those practitioners operate within media conglomerates; and, perhaps most important, how they contribute to commonsense ideas about sexuality.

[more]


front cover of Queerbaiting and Fandom
Queerbaiting and Fandom
Teasing Fans through Homoerotic Possibilities
Joseph Brennan
University of Iowa Press, 2019

In this first-ever comprehensive examination of queerbaiting, fan studies scholar Joseph Brennan and his contributors examine cases that shed light on the sometimes exploitative industry practice of teasing homoerotic possibilities that, while hinted at, never materialize in the program narratives. Through a nuanced approach that accounts for both the history of queer representation and older fan traditions, these essayists examine the phenomenon of queerbaiting across popular TV, video games, children’s programs, and more.

Contributors: Evangeline Aguas, Christoffer Bagger, Bridget Blodgett, Cassie Brummitt, Leyre Carcas, Jessica Carniel, Jennifer Duggan, Monique Franklin, Divya Garg, Danielle S. Girard, Mary Ingram-Waters, Hannah McCann, Michael McDermott, E. J. Nielsen, Emma Nordin, Holly Eva Katherine Randell-Moon, Emily E. Roach, Anastasia Salter, Elisabeth Schneider, Kieran Sellars, Isabela Silva, Guillaume Sirois, Clare Southerton

[more]


Send via email Share on Facebook Share on Twitter