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1.
Robert Alan Brookey Robert Westerfelhaus 《Critical Studies in Media Communication》2013,30(2):141-156
–Recently, the mainstream media have begun to include positive portrayals of gays and lesbians. This essay suggests that these positive portrayals demand critical scrutiny to determine how they redefine mainstream culture and how they serve to challenge and/or reinforce heterosexual bias. In an analysis of To Wong Foo, Thanks for Everything! Julie Newmar, we examine how a narrative film negotiates the practice of drag and represents gay male “drag queens” through a progressive refiguring of the monomythic themes which inform the popular genre of Western film. 相似文献
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Invoking social identity theory as an interpretive frame, a previous content analysis of heterosexuals' representations of imagined conversations with gay men revealed a number of communication schemas for talk with the latter (e.g., homonegativity and offense avoidance). This study explores the role of participant sex in determining the prevalence of such schemas, comparatively incorporating representations of conversations with a heterosexual target. Two hundred American undergraduates imagined a conversation with a gay or heterosexual male target. Male participants' imagined conversations with a gay target were rated more negative, indicated less evidence of relational development, and included more gay stereotyping than did females' imagined dialogues. 相似文献
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Páraic Kerrigan 《Media History》2013,19(2):244-258
Little is known about the relationship between the Irish gay press and the AIDS crisis during the 1980s. This article aims to fill this gap by presenting the findings of a study dealing with the AIDS epidemic in Ireland and how it was confronted through the alternative media platform of OUT magazine. Using issues of OUT, it argues that alternative media in Ireland were pivotal in generating vital public health information for the gay community, particularly when the mainstream press and Irish government were not providing the necessary resources. This article also highlights the activist potential of alternative media such as OUT, as it engaged with public bodies in an attempt to hold them accountable for their response, or lack thereof, to the epidemic. The Irish gay press is thus an important example of how alternative media are critical when mainstream society ignores a particular group’s public health needs. 相似文献
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Katherine Sender 《Critical Studies in Media Communication》2013,30(2):131-151
This paper moves beyond a conventional critique of gay stereotyping on Bravo's popular makeover show Queer Eye for the Straight Guy to consider how the show puts gay cultural expertise to work to reform a heterosexual masculinity that is compatible with the neoliberal moment. At issue are the newly public acknowledgement of gay taste and consumer expertise; the “crisis of masculinity” that requires that heterosexual men must now attend to their relationships, image, and domestic habitus; and the remaking of the straight guy as not only an improved romantic partner—the metrosexual—but a more flexible, employable worker. The author concludes by considering how camp deconstructs some of Queer Eye's most heteronormative aims, even while leaving its class and consumption rationales intact. 相似文献
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Katherine Sender 《The Communication Review》2013,16(4):407-432
This article addresses gay marketers’ tardy and ambivalent attempts to imagine and organize lesbians as a viable target marketing niche. Practical considerations make lesbians less attractive as a market: They have a lower average household income than gay male and heterosexual couples and they are hard to reach for market research purposes and with advertising. But the lesbian market is also dogged by the popular image of lesbians as lacking both erotic and acquisitive desire, embodied in the stereotype of anti-consumption, parsimonious, unsexy feminists who resist marketers’ interest in them as consumers. 相似文献
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Stephanie L. Hartzell 《传播与批判/文化研究》2020,17(2):129-148
ABSTRACT This essay adopts a critical rhetorical perspective attuned to affect to investigate white nationalist rhetoric on Stormfront, a popular white nationalist message board. My analysis illuminates how Stormfront attempts to appeal to mainstream white audiences by resisting normative expectations and affects articulated with white supremacy and (re)constructing white nationalism as a formation of white racial consciousness articulated with communal belonging, common sense, and pride. On Stormfront, affect is mobilized discursively to challenge colorblindness, construct rhetorical distance between white nationalism and white supremacy, and strategically negotiate white (dis)comfort with direct discourse on race to compel affective investments in white nationalism. 相似文献
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This paper explores how Will & Grace, which has been heralded in the popular press for its positive representations of gay men, situates the potentially controversial issue of homosexuality within safe and familiar popular culture conventions, particularly those of the situation comedy genre. This paper draws on feminist and queer theory to examine the liabilities of relying on these familiar situation comedy conventions, demonstrating how the program equates gayness with a lack of masculinity, relies on sexual tension and delayed consummation, infantilizes the program's most potentially subversive characters, and emphasisizes characters' interpersonal relationships rather than the characters' connection to the larger social world. Additionally it argues that by inviting mainstream audiences to read the program within familiar televisual frames, Will & Grace can be read as reinforcing heterosexism and, thus, can be seen as heteronormative. 相似文献
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《广播与电子媒介杂志》2013,57(2):216-235
This study explores the question of whether lesbian or gay characters can be included long-term in daytime soap operas, a television genre historically predicated on the celebration of heterosexual romance. While daytime is typically ahead of prime-time in exploring controversial issues, its representation of gay and lesbian characters lags far behind prime-time comedies and dramas. The focus of investigation is the Bianca Montgomery storyline currently airing on All My Children (ABC). Through textual analysis and analysis of interviews with daytime journalists and other industry insiders, this article explores the risks and challenges of representing homosexuality on the soaps. 相似文献
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Bonnie Dow 《Critical Studies in Media Communication》2013,30(2):123-140
–The discourses constructing the coming-out of Ellen DeGeneres/Ellen Morgan, star of and lead character in the ABC television sitcom Ellen, were permeated with implications of authenticity and liberation, illustrating the continuing power of the confessional ritual described by Michele Foucault in The History of Sexuality. In contrast to the popular interpretation of the coming-out as an escape from repression, media treatment of the Ellen phenomenon was productive, in Foucault's sense, constructing a regulatory discourse that constrained the implications of gay visibility on commercial television by channeling it through a narrative of psychological autonomy, through television norms for representing homosexuality, and through an overarching strategy of personalization. I conclude with a discussion of the problems of “poster-child politics” as exemplified by the Ellen discourse. 相似文献
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Brenda Cooper 《Critical Studies in Media Communication》2013,30(1):44-63
–This analysis argues that Kimberly Peirce's film Boys Don't Cry can be read as a liberatory narrative that queers the centers of heteronormativity and hegemonic masculinity by privileging female masculinity and celebrating its differences from heterosexual norms. My critique emphasizes how the narrative strategically challenges heteronormativity and, in turn, “narrative's heteroideology” (Roof, 1996), in four ways: 1) by dismantling the myth of “America's heartland”; 2) by problematizing heteromasculinity; 3) by centering female masculinity; and 4) by blurring the boundaries of female masculinity. I argue that the articulation of each subversive strategy within the narratives of Boys Don't Cry can serve a liberatory function, whereby the privileged subjectivities of heterosexuality and hegemonic masculinity are dismantled and, simultaneously, female masculinity and gender fluidity are privileged and normalized. I conclude that the narrative structure of Boys Don't Cry not only privileges gender diversity, but also exposes the inherent sexual bigotry of heteroideology and the brutal and deadly consequences of society's failure to eradicate such prejudice. I just keep on laughing Hiding the tears in my eyes Because boys don't cry. Boys don't cry. (Smith, Tolhurst, & Dempsey, 1988) 相似文献
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Tasha R. Rennels 《传播与批判/文化研究》2013,10(3):271-288
Depictions of white working-class people are steadily on the rise in reality television. To understand this phenomenon, and the ways in which it articulates white working-class people in the United States today, I analyze Here Comes Honey Boo Boo, a popular reality series on TLC featuring a self-described “redneck” family. I argue that this series highlights the family's inability—because of their working-class status—to conform to “ideal whiteness,” a whiteness that displays dominant cultural standards bolstered by neoliberalism, such as wealth, rationality, personal responsibility, and self-control. The family members consequently become exemplars of “inappropriate whiteness,” a marginal identity presented as humorous and, through the use of surveillance and spectacle, authentic. 相似文献
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Shane M. Graber 《Journalism Practice》2019,13(3):383-395
This study examines the discourse observed within The New York Times crossword puzzles that, in Gaye Tuchman’s terms, appears to symbolically annihilate people of color, women, and members of the LGBT community. Using a critical discourse analysis of a random selection of crossword puzzles between 1993 and 2015, this paper will argue that they tend to skew toward white (Western), male, and heterosexual clues and answers in one of the world’s most important newspapers. In doing so, the discourse of the crosswords appear to stereotype, omit, further marginalize, trivialize, underrepresent, and render as child-like many marginalized people. These findings contribute significantly to the theory of symbolic annihilation in mainstream media, the consequences of which will be discussed. 相似文献
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Shoshana Magnet 《The Communication Review》2018,21(2):116-130
What does it mean to represent insect sexualities? What are the technologies that one uses to make insect bodies visible? In this article, I examine two series in order to examine representations of insect sexualities. In the documentary Life in the Undergrowth, famed British broadcaster and naturalist Sir David Attenborough’s hushed tones tell us that new technologies of seeing are making new worlds visible. In the second, Isabella Rossellini stars in the series Green Porno, in which she uses biologically accurate costumes to blow up insect bodies to human size, using the costumes as technologies of seeing to help her audience visualize how insects have sex. Here, the costumes themselves become ways of knowing insect bodies while simultaneously rendering them as spectacular media moments. I rely upon feminist media studies of representations of wildlife to ask how assumptions around gender and sexuality continue to shape contemporary depictions of the insect world in Sir David Attenborough’s series Life in the Undergrowth, whereas I argue that Green Porno represents a queering of traditional documentaries on insects and examine what possibilities this might provide us with for rethinking insect sexualities—from monogamy and heterosexual reproduction to S/M, queer sex, and polyamory. 相似文献
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David C. Oh 《Critical Studies in Media Communication》2018,35(4):350-362
Better Late than Never is a remake of a Korean reality T.V. travel show, which aired on N.B.C. in August 2016. The show’s premise features four elder celebrity men – Henry Winkler, William Shatner, Terry Bradshaw, and George Foreman – with their mid-30s companion Jeff Dye as they travel through the “exotic” lands of East Asia. Through the use of two popular narrative tropes, the bromance and the Western journey for self-discovery in Asia, the show argues that the interaction with the Asian other is beneficial primarily in masculine self-discovery and masculine homosocial bonding. Borrowing from Steeves’s use of the hybrid encounter, I argue that B.L.T.N. positions the strange Asian other as valuable only as a reference for becoming reacquainted with the U.S. American self and emotionally connected to his fraternal companions. Thus, B.L.T.N. rejects hybridity and reinforces U.S. American masculinity through the reification of ideologically preferred contact with the other that is shallow and that benefits the Western traveler. 相似文献
16.
Amy K. Way 《Journal of Applied Communication Research》2019,47(2):197-215
A recent focus among communication scholars, the study of contradiction and paradox illuminates the inherent irrationality of organizing. The following case study examines how youth labor – cast as play – functions as a series of tensions and contradictions in the day-to-day construction of work(er) between adults and youth. Mirroring the popular reality TV show, The Apprentice, the program under study communicated contradictory messages about youth work(ers) in terms of: (1) proving/discounting oneself as worker, (2) demanding confidence while orchestrating uncertainty and (3) playing along versus being playful in the organizationally prescribed framework, effectively dismissing work(ers) essential to the functioning of the organization. My analysis demonstrates how the framing of youth’s work as a game delegitimized youth work(ers) resulting in potentially exploitative working conditions, and serves as a call to communication scholars to better account for youth as workers, while pointing to similar implications for other types of provisional and contingent work(ers). 相似文献
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D. Travers Scott 《Critical Studies in Media Communication》2016,33(5):424-437
ABSTRACTThis essay addresses Stuart Hall and discourse theory, focusing on his essay “Signification, representation, ideology.” Reflecting upon recent events involving representation and identity—US legalization of gay marriage, murders at a gay nightclub, removal of the “Rebel Flag” from the South Carolina state capitol, Donald Trump’s presidential campaign—I attempt to destabilize the counterproductive dualism of material/discourse in Hall’s critique of poststructural discourse theory. Finding amenability between Hall and Foucaultian discourse theory, I describe Hall’s utility for discourse scholars, such as his perspectives on ideological practices and generation of new discourses as an interventionist act. 相似文献
18.
Azmat Rasul 《The Communication Review》2017,20(4):225-245
Through the lens of political economy of communication and sports, this article examines the role of Bollywood’s sports movies in promoting patriotism and constructing an Indian national identity. Focusing on three popular movies premiered in the last decade, Dil Bole Hadippa (2009), Chak De! India (2007), and Lahore (2010), we explicate how Bollywood mobilized patriotic codes through these films in ways that are advantageous for the Indian government and the economic goals of the industry. 相似文献
19.
Meg Tully 《Critical Studies in Media Communication》2018,35(2):194-207
This study engages in current scholarly debates regarding third-wave versus postfeminist media icons through an analysis of Tina Belcher, the eldest daughter in the animated series Bob’s Burgers and a paragon of what I coin “millennial feminism.” In it, I argue that Tina rejects popular postfeminist discourses and experiences a politicized feminist awakening. While Tina is significant in her own right, most remarkable is the way millennial audiences have utilized the internet to position Tina as a feminist folk hero. Ultimately, I trace how popular critics use Tina to theorize a millennial feminism that reflects the values and characteristics of the millennial generation. Revisiting Sarah Banet-Weiser’s (2004. “Girls rule! Gender, feminism, and Nickelodeon.” Critical Studies in Media Communication, 21, pp. 119–139) argument that Nickelodeon’s girl power programming demonstrated third-wave feminist politics for its audiences, I argue that adult-oriented animated sitcoms lend themselves to an absurdity and disregard for hegemonic gender ideologies which have the potential to unsettle dominant ideologies of gender and sexuality and can define contemporary feminist politics for viewers. 相似文献
20.
Louise Grayson 《Journalism Practice》2015,9(4):568-579
In recent years there has been an explosion of citizen-produced content appearing in mainstream media outlets. Terms such as convergent journalism, citizen journalism and user-generated journalism are all widely used in an attempt to define this growing phenomenon. This paper explores the specific genre of citizen photojournalism (CPJ). It is argued this is a definitive genre of its own and has important implications for audience perceptions due to the narrative or “storytelling” role of the visual mage. An “action genre” approach is used to examine how this new photographic genre has been enabled within current technological, cultural, political and economic environments That is to say, that photographic production processes, undertaken by amateur photographers are examined to identify patterns of activity that comprise the genre of CPJ. Through a review of existing literature on how citizens work in the field, and the way the resulting photographs are used in mainstream media, I offer a conceptual structure to delineate recognisable patterns of activity that comprise the genre of CPJ. The strength of this approach is that it allows me to describe CPJ in a way that reveals how external factors and the practice of citizens taking photojournalistic images impact upon the final product published in influential publications including popular press, books, magazines and internet publications. 相似文献