Gay Stereotypes In The Media Analysis

It is proving difficult to portray homosexuality without some form of stereotype in media. This is because this very standard life allows easy identification of homosexuality in media. Therefore, in television shows, when a homosexual character is presented, the orphan seen in a stereotypical fashion. When the audience sees the stereotypes present in a certain character in a television show, they get a general idea of what to expect from the show, even if the idea is vague, it is based on an extension of the stereotype it's in. This is simply because what was earlier considered invisible, has been cast brought to the visible screen. Hence, the basis of this essay is to explore gay archetypes which exist in media. An archetype can be described

as a very typical example of a certain type of person. It is a primitive mental image about this type of person, which is inherited from the earlier generations and is omnipresent in our collective subconscious.

It is a recurrent symbol for literature. Therefore, the aim of this essay is to find evidence to support the hypothesis that these primitive archetypes are used for easy identification of homosexual and transgender identities in media. For the purpose of analysis, HBO's series Looking has been selected. To integrate course concepts into the artefact selected on with this essay will briefly touch on how the camera negotiates want the audiences, kind of affection shared between the main characters and the types of bodies seen on screen.

Representation in media

The identity of homosexuality seems to originate from a stereotype, so much so that sometimes it seems that homosexuals have created their identities based on such stereotypes. The ideal for me, is either effeminate or manly. These are not true identities at all, as homosexual male identities are formed from predated stereotypes of femininity. The audiences have allowed this idea to propagate as it helps to understand this very identity, which was once invisible in media productions. The mannerisms of a homosexual character have been exaggerated in order to make it easier for audiences to notice it. Certainly, the main characters of the show are neither effeminate or manly. Austin, Russel and Raul are

refreshingly " normal. " They are somewhat more masculine than their counterparts in media, mostly in the pitch of voices and their slightly less effeminate mannerisms, it seems that the portrayal of homosexuals is honest. They are not those white wealthy imposing men who correspond with the stereotyped idea of type of men who are homosexual, they are of different origin and do not have an ordinary appearance. In addition, the relationship drama of the gay couples and all the obstacles they face in their life, which Looking contains, are just on a level with those which heterosexual couples may experience in real life, so that the viewers, regardless of their orientation, feel empathy for them. However, as Hilton-Morrow and Battles (2015, p.147) pointed out, 'the images of gay and lesbian had to be "coded" that is represented beyond the surface context of the film. The gay men drink wine, buy expensive clothes and can even cook, which is in stereotype of being female. Kevin knows how to tie a bow tie, which is a feat for his heterosexual counterparts. The characters’ inner world also resembles in a way the one which is generally considered to be feminine: they are too touchy and emotional, are prone to exaggerate everything and worry because of trifles. This archetype presents itself in moments of the show in such a manner that the audience is no longer subversive to seeing homosexuality on television. Yet, the manner of its presentation suggests that it is done to help the audience understand what they are seen. To minimize the stereotypization of the GLBTQ, Looking contains many humorous elements, usually irony. For example, in the last episode (Looking for Home, 2015) Kevin and Patrick ironically joke about other gays who flirt with them at the Christmas party they went to after moving into a new flat. Explaining why he uses a dating application, Kevin says that he just wanted to know what other homos were looking in the shadows, ironically defying the stereotype that most homosexuals are interested only in sexual relations. There can also be found examples of humor that is shared between minority groups: Agustin is called a “narcissist” by his boyfriend in the scene where they talk about the exhibited graffiti. If considered under common circumstances, his words may be taken as offensive ones, but as this is said by a representative of a same-sex relationship to his partner, it seems to be a soft remark. The characters in Looking are based on stereotypes only to make the situation in the whole TV series clear to the audience, not discriminating or diminishing people of nonstandard sexual orientation.
Bodies
The TV series main characters’ appearance does not differ much from that of heterosexual men as they have not done any gender reassignment surgery. Thus, people’s beliefs about how a man should look like are not undermined and this makes the viewers feel quite comfortable to follow the storyline. A lot of canards circulated in the fan circle of the show, when the producers announced that two transgender characters will be introduced in season two (Miller, 2014, p.2). Majority of the emphasis was whether the characters on the state of transition that the characters would be shown in. In simple words, the audience wanted to know whether the characters would be shown in the pre-operative or post operative stage. Hilton-Morrow and Battles (2015, p.240) suggest that this curiosity arose because "all these questions focus on areas of the body generally considered Private, but associated with deep-seated cultural assumptions of what it means to be a man or a woman." The cultural assumptions are stringent and inflexible. Any specific identity construction, moreover, is arbitrary, unstable and exclusionary (Krijnen & Van Bauwel, 2015, p.65).Traditionally, transgender people have always played victims or villains, and very little focus is paid to the true depiction of the transition process that a transgender has to endure. This place of invalidation creates a mindset that marks transgender people unfit to depict their own stories. This is done to stick the within the realm of " normality" (Krijnen & Van Bauwel, 2015, p.66).
Affection
According to Hilton-Morrow and Battles (2015, p.237), "the inclusion of LGBT characters comes with conditions, while an argument can be made that gay relationships are treated similarly to the heterosexual counterparts in terms of storylines, when dealing with the same sex intimate relationships, the implicit heteronormativity of television space becomes clear." The authors have explained the same sentiment in simple words by stating, that "displays of gay affection is something to be momentarily endured by straight men (Hilton-Morrow & Battles, 2015, p.

238). Traditionally, media is reluctant to show affection between two gay men. This means that when the heterosexual couple would be shown kissing, in the same scenario, a homosexual couple would be hugging. The storylines remain more or less the same, whereas both heterosexual and homosexual couples are shown to have similar phases in relationship and are shown dealing with similar stressors, the handling of physical display of affection is done in contrasting manner. One could almost say that heterosexual scenes are dealt in an aesthetic manner and the treatment of homosexual scenes is almost cringeworthy. Taking example of the popular sitcom, The modern family, in similar scenarios, Claire and Phil would be kissing whereas Mitch and Cam would be hugging. The awkward manner in which affection between the homosexual couple is displayed on screen reflects the constrained mindset of the producers. A scene where the discomfort

with the subject is palpable is when Mitch and Cam are shown kissing briefly in the background, with Jay kissing his daughter in the foreground. Although the number of gay male representations in American sitcoms have increased, the ways same-sex intimacy operates within sitcoms is predictable. Whether it is sitcoms like Modern Family, Happy Endings, or The New Normal, the positioning of the camera and the spatial relationship between actors is deliberate. The same-sex kisses are obscured through camera angles, especially the over-the-shoulder shot, as private dichotomy factors in (Martin 2014, p.153). However, the scenes depicting same sex affection in HBO's looking is done sensitively. The subjects are placed in the centre of the frame and both wide angles and closeup shots are used. A great example is the kissing scene between Kevin and Patrick near the bleachers. Hilton-Morrow and Battles’ study (2015) found the following: When HBO’s half-hour series of three gay friends in San Francisco, Looking, premiered in 2014, bloggers called out the show for being too chaste, especially compared to other HBO series. While the show features scenes of intimacy between men, it rarely show shots below the waist and features little nudity. (p.239). For instance, in the above mentioned episode (Looking for Home, 2015), when Kevin and Patrick are about to get intimate, Kevin’s naked body is shown only for a few seconds. Having said that, certain remainders of archetypes still manage to exist, despite the careful scrutiny of the screen writers. Hilton-Morrow and Battles (2015, p.234), point out that enacting on " their sexual agency for their own pleasure" is rarely seen in mainstream media. A subtle reference to self pleasure is made, and a joke is cracked on arousing the " inner boyfriend." However, this job is not for the extended or explored and it serves as a reminder for dichotomy.
Conclusion
Even though the show is not archaic in its presentation of effeminate or manly homosexuals, it still uses stereotypes of femininity to help establish a storyline. This lazy characterization helps the audience understand what they are seen by minimizing the effort involved in thinking. Even though the main characters are not effeminate or manly, they drink wine and buy expensive clothes. The cultural assumptions are stringent and inflexible and causes people to focus on areas of the body generally considered Private. The same-sex kisses are obscured through camera angles, especially the over-the-shoulder shot, as private dichotomy factors in, whether it be sitcoms like Modern Family, Happy Endings, or The New Normal. Despite the almost realistic treatment of such a sensitive subject, the show fails to remain free from stereotypes and archetypes. The storyline solidifies and reinforces the stereotype that homosexual men are surrounded by drama and are prone to emotional and stereotypical feminine outbursts. The result of these stereotypical presentations and drama is that the audience is that confused over who is the patriarch in the relationship as the boundaries are still not perfectly aligned with each character. This gives power to the archetype that a gay man is looked upon as confused, irrespective of his effeminate nature. The homosexual man is considered "silly" for his confusion over his sexuality. This all compounds the pre-existing archetypes.