By Glynn Davis, Gary Needham
How do we queerly theorise and comprehend tv? How can the nation-states of tv experiences and queer concept be introduced jointly, in a fashion valuable and efficient for either? Queer television: Theories, Histories, Politics is the 1st publication to discover tv in all its scope and complexity – its undefined, construction, texts, audiences, pleasures and politics – when it comes to queerness. With contributions from amazing authors operating in film/television stories and the learn of gender/sexuality, it deals a different contribution to either disciplines. An introductory bankruptcy via the editors charts the major debates and concerns addressed in the booklet, by three sections, each one imperative to an figuring out of the relationships among queerness and tv: 'theories and approaches', histories and genres', and 'television itself'. Individual essays research the relationships among queers, queerness, and tv around the a number of websites of construction, intake, reception, interpretation and theorisation, in addition to the textual and aesthetic dimensions of tv and the televisual. The ebook crucially strikes past lesbian and homosexual textual analyses of particular television indicates that experience usually focussed on reviews of positive/negative representations and identities. particularly, the essays in Queer television theorise not only the queerness in/on tv (the creation group of workers, the representations it bargains) but in addition the queerness of tv as a special medium.
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Extra info for Queer TV
Despite this ad soundbite-ﬂight, ABC still refused some commercials offered in their place: a thirty second anti-discrimination appeal from the Human Rights Campaign, and an ad for Olivia Cruise Lines, a business owned by and geared toward lesbians. The last case is especially peculiar. Rejecting the ad in an apparently prophylactic segregation of TV’s commercial spots from TV’s (commercial) programmes, ABC stated that ‘discussion about samesex lifestyles is more appropriate in programming’ (quoted by Kelty 1997: 16), thus disavowing the very fact of broadcast ﬂow through this denial that television commercials are an intrinsic (indeed the most crucial) part of the programming schedule.
Exploding closets and epistemological crises The 1994 Halloween episode of Roseanne exhibits the Connor family and their friends playing a series of Halloween tricks on one another, each attempting to outdo the others. ’ The most elaborate involves a ploy to persuade Roseanne that her brother-in-law Fred is gay. Roseanne ‘accidently’ witnesses Fred’s apparent familiarity with several gay men at a beauty salon and then at a costume party (in which he appears as Batman to his wife’s Robin); notes his discomfort at male attention that seems to allude to a secret history; and is spurred to recall her own memories of Fred’s past that include his hairstyle experimentation and a desire to see the ﬁlm That’s Entertainment.
I’ll do it for you,’ but I need more money … this is going to hurt my image, do you understand what I’m saying? I can’t be seen with her like this. No, no, no, it’s not over now. ’33 In this extended gag that takes aim at both sales and sexual presumptions, DeGeneres exposes, through double reversals, the logic of the commodity and the logic of the closet (indeed, exposes the link between the two), suggesting in the process the ambivalent effects of this very linkage. Still, a joke that mocks the commodiﬁcation of gay identity, with whatever fatal wit, does not erase it; indeed, ultimately, it was this very commodity logic that killed Ellen (in the process, at least according to DeGeneres’s own rhetoric, killing Ellen herself ).