“What’s ruining television today are those big productions – It’s the fairies who are going to ruin show business.” For some, this quote from The Jack Paar Show may seem unsettling. In the midst of a Supreme Court that has recently extended even more rights to a community so harshly oppressed, it is shocking to think that just fifty years ago, thoughts like this represented the majority opinion. The evolution of homosexuality in television has seen tremendous leaps and countless obstacles; yet what has emerged in the wake of it all is a form of media that has drastically impacted discourse surrounding gay men. This analysis aims to discuss the show Glee, as well as the key aspects of homosexuality that are portrayed. It will examine the characters …show more content…
In television, the male gaze refers to the way in which the camera of a show may objectify a woman. However, those starring on stage in musicals, as well as in musical themed shows such as glee, may be the subject of the gaze. The idea of a ‘gay-male’ gaze, as well as a female gaze, often are described in this situation. Clum describes that “the same chorus boys who play the Cagelles are the macho men who do the dance break in ‘Masculinity.’ The chorus can play masculine or feminine, gay or straight, unlike the drag diva, who can only be gay” (Clum 201). Through this, one may understand that the musical genre, as well as similar television productions, put their focus on two types of audience members: the straight woman and the gay man. Due to the aforementioned relationship between expressive conduct and sexuality, it can be thought that this may contribute to the identification of musicals as a mostly gay aspect of culture. This can be related to Glee in that many of the characters express their sexuality through songs from Broadway musicals and other popular artists, even if it may affirm stereotypes in the
Sex and Gender was the subject of the two movies Dreamworlds 3 and Further Off The Straight & Narrow. In Dreamworlds 3 Sex is portrayed as a status of life and happiness in the media. This media displays people as objects that can be manipulated for sexual pleasure. As the media is populated with sex it tiptoes around gender, specifically that of gays or lesbians. The film Further Off The Straight & Narrow emphasized the movement through media gay and lesbian topics. This text analyzes iconic television programs and how they reflect the societal stance during that time. As a member of a generation that has had the topic of these issues prominent I believe they are important but are banal. In this reflection I will be responding to two questions, what would woman driven Dreamworlds look like? And Do you agree with the statement that if you are not on television you don’t exist?
Michael Abernathy’s article “Male Bashing on TV” uses many television sources and percentages to explain how men are treated like idiots inside of the media. Abernathy is a television reviewer, cultural critic, and queer culture commentator (350). While Heather Havrilesky's article “TV’s New Wave of Women:Smart, Strong, Borderline Insane” is the opposite and uses television sources to explain how women are treated as smart yet crazy inside of the media. These two articles describe how men and women are portrayed differently in television shows and the media. The articles have smaller subtopics in common which are the portrayal of men and women in the media, the comparison of men and women in each article, and how Abernathy and Havrilesky want
Furthermore, a few of his plays are written about drag queens and others about being gay. Mr. Fierstein grew up in a time when being gay was a very hard lifestyle to be open about. Over the decades the support group lesbian, gay, bisexual, and transgender community or better known as LGBT, has supported the mass movement worldwide. Mr. Fierstein set out to illustrate to the world that it is ok to be yourself and that the LGBT community will not accept any more bigotry. His plays focus on the hardships faced by the oppressed and the tyrants.
Since its start, the television industry has been criticized for perpetuating myths and stereotypes about African-Americans through characterizations, story lines, and plots. The situation comedy has been the area that has seemed to draw the most criticism, analysis, and disapproval for stereotyping. From Sanford and Son and The Jefferson’s in the 1970s to The Cosby Show (1984) and The Fresh Prince of Bel-Air in the 1990s, sitcoms featuring black casts and characters have always been controversial. However, their significance upon our American culture cannot be disregarded. During the 1950s and 1960s, 97% of the families were Caucasian. In the first five years of the 1990s, nearly 14% of the television families were African-American (Bryant 2001). These statistics obviously show the substantial impact our American culture has had on African-American television families.
On September 20, 1984 a show aired that changed the way we view gender roles on television. Television still perpetuates traditional gender stereotypes and in reflecting them TV reinforces them by presenting them as the norm (Chandler, 1). The Cosby Show, challenged the typical gender stereotyping of television, daring to go against the dominant social values of its time period. In its challenge of the dominant social view, the show redefined the portrayal of male and female roles in television. It redefined the gender role in the work place, in social expectations, and in household responsibilities. The Cosby Show supported Freidan in her view of “castigating the phony happy housewife heroine of the women’s magazines” (Douglas 136).
The semiotics of traditional theatrical form reinforce an oppressive patriarchal system. The physical body becomes the catalyst by which gender is assigned and expected. This emphasis on the body is amplified in the theater. Simone Benmussa’s play The Singular Life of Albert Nobbs, adapted from the short story by George Moore, deals with issues of femininity and masculinity and how these are portrayed within the theater as well as how theater is formed by the traditional patriarchal gaze. This play also deals with issues of class and how class status is intrinsically tied to gender, gender performance and sexuality. Through the example of this play it is seen that a form of theater which creates and maintains the woman as subject rather than object (as Sue-Ellen Case proposes) cannot be truly realized until the performative nature and many issues inherent in masculinity are acknowledged and processed. Here also is an excellent case study of how the politics of the theater are deeply rooted in body politics and gender essentialism. All of these factors contribute to the play’s overall complexity in matters surrounding and pertaining to the performative nature of masculinity and the manner in which masculinities are brought forth on stage and how that differs from femininity on stage.
Draper’s (2010) research regarding gayness to establish differences between models of straight masculinity in the magazine industry was extensive. He began his research by analyzing Details’ issues from September 1990 to September 2008 that had to do with gay men references. He then created a timeline that determined the gay moments that occurred and also analyzed the way editors at Details talked to and about their audience. These were his methods of data collection and he used Butler’s theory, “that gender is performative, socially regulated, and discursively constructed,” and “Carrigan, Connell, and Lee’s assertion that multiple masculinities exist that get contained and reframed by hegemonic masculinity.” (Draper, 2010, p. 360) Along with these methods, he also analyzed editors’ letters in each issue relating to sexual identity and gender and examined interviews the editors gave to the press and newspapers.
Author Steven Seidman writes that “it is the power of the closet to shape the core of an individual's life that has made homosexuality into a significant personal, social, and political drama in twentieth-century America “(38). Those that are homosexual tends to tell lies and play deceitful silly games just to appease family, coworkers and a few dear old friends. They feed into the prejudices and fears about homosexuality. In Angels in America, many of the characters are homosexual, and the truth about their sexual preferences comes out. Kushner shows us the difficult struggle that often precedes a gay person’s acceptance of her or his identity, and the ways in which one’s ability to enact this identity is dependent on the acceptance of others.
This essay sets out to distinguish how male characters can be portrayed in the same fashion as their female counterparts, and therefore become subjected to the same erotic objectification. This will be researched under the circumstances that the production revolves around gay characters and the assumed audience is exchanged from a homogenous crowd of heterosexual spectators, to a homogenous crowd of homosexual spectators. To support this claim there will be references to a segment from the American remake of the television series Queer as Folk (USA, dev. Ron Cowen, Daniel Lipman, 2000-2005) where Brian Kinney (Gale Harold) and Justin Taylor (Randy Harris) first meet.
While Hollywood pumps fictional stories such as the first televised lesbian kiss on Ellen, the real world is turning. While th...
The depiction of transgender women characters in mainstream television has been offensive, insulting and derogatory. An article from GLADD called “Victims or Villains: Examining Ten Years of Transgender Images on Television”, examines 102 episodes and storylines on mainstream television that contained transgender characters since 2002. Of these, more than half were characterized as containing negative representations of transgender. In 2007 only 1% of television series had a recurring transgender character, which has slowly increased to 4% in 2013.
Tate, Julee. "From Girly Men To Manly Men: The Evolving Representation Of Male Homosexuality In Twenty-First Century Telenovelas." Studies In Latin American Popular Culture 29.(2011): 102-114. Academic Search Complete. Web. 7 Mar. 2014.
The 1990s saw a surge of gay characters in both television and movies. From Ellen Degeneres and her character Ellen Morgan coming out under much scrutiny on the TV show ‘Ellen,’ to Julia Roberts and Rupert Everett comedically playing off each other in the motion picture ‘My Best Friend’s Wedding.’ Sure, gays and lesbians have been around forever, especially in Hollywood. But never has there been a time to be more out. With the popularity of shows like Will and Grace, which feature leading gay characters, as well as Dawson’s Creek
If you were to go back to the 1950’s you would realize how differently homosexuality was looked at compared to today. Men were arrested because of their homosexual relations; people looked at it as a disease, something that was possibly curable. Over time, people have started to become more open and proud about their sexual orientation, demanding basic rights that had been taken from them. In our generation, homosexuality is a major component of Pop Culture and is one of the many causes of disputes between the citizens of the United States and their government.
middle of paper ... ... Works Cited Adam Sharpiro, Megan Schultz, Christina Roush, Cassandra Schofar, Emily Shilling, Tawnia Simpson, Natalie Sampiller. Portrayal of Homosexuality in Media. 26 March 2014 http://www.bgsu.edu/departments/tcom103fall2004/gp16.pdf>. Huegel, Kelly.