"<i>Bad Girls</i>Changed My Life": Homonormativity in a Women's Prison Drama

Herman, Didi

doi:10.1080/07393180302779

Cited by 38 publications

(36 citation statements)

References 17 publications

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“…A homonormative construction, according to Herman (2003), "represents gay and lesbian identity as normal, natural, good, and unremarkable in and of itself" by presenting "'out' ways of looking that are rooted in lesbian and gay subculture[s]" (p. 144). In this sense, Noah's Arc is homonormative: it presents the homosexuality of the main characters-Noah, Alex, Chance, and Ricky-as natural, unremarkable, and taken for granted.…”

Section: Glq Visibility and The New Homonormativitymentioning

confidence: 99%

Racialized Masculinities and the New Homonormativity in LOGO'sNoah's Arc

Yep

Elia

2012

Journal of Homosexuality

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Examining the relationship between neoliberalism, race, and gender performance, this article provides an analysis of Noah's Arc, a popular LOGO television series in the United States. More specifically, it focuses on the intricate relationship between specific forms of racialized masculinities and the new homonormativity in this show. This article is divided into six sections. First, an overview of the LOGO series is provided. Next, gay, lesbian, and queer visibility in mainstream U.S. popular culture and the new homonormativity are examined. Third, the relationship between race and masculinity is discussed. Next, a close reading and analysis of the show is provided. Fifth, an exploration of how representations of Noah's Arc queers and "quares" Black masculinity in U.S. culture is undertaken. Finally, some concluding thoughts on representations of racialized masculinities and homonormativity in this popular television series are offered.

show abstract

Section: Glq Visibility and The New Homonormativitymentioning

confidence: 99%

Racialized Masculinities and the New Homonormativity in LOGO'sNoah's Arc

Yep

Elia

2012

Journal of Homosexuality

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“…In addition, Shugart (2003a) argues that Ellen's sexuality is represented as ''a lark, a playful, ultimately meaningless venture along the lines of a zany escapade or perhaps an idiosyncrasy-a quirk that makes Ellen interesting and fun'' (p. 47). When lesbian characters appear in more dramatic contexts, they are frequently placed in overly dramatic coming out situations and then later ignored (e.g., Harrington 2003) or portrayed as exotic oddities designed for heterosexual consumption (e.g., Herman 2003).…”

Section: Lesbian Representation On Televisionmentioning

confidence: 99%

“We All Have Feelings for Our Girlfriends:” Progressive (?) Representations of Lesbian Lives on the The L Word

Lee

Meyer

2010

Sexuality & Culture

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The Showtime series The L Word (2004)(2005)(2006)(2007)(2008)(2009)) marked one of the first dramatized representations of prominent lesbian characters. While many popular culture scholars are focusing attention on the recent ''gaying'' of television narrative (e.less attention is given to non-romantic interpersonal relationships surrounding main characters in these narratives. Sexuality scholarship notes that lesbian individuals must negotiate their self-disclosure to heterosexuals (Dindia in Dialectical approaches to studying personal relationships, Lawrence Erlbaum Associates Inc., Mahwah, NJ, 1998), and that this can be challenging for forming relationships and maintaining identity (Meyer in Communication Quarterly 51: [262][263][264][265][266][267][268][269][270][271][272][273][274][275][276] 2004). Ultimately, this essay argues that despite the gains in visibility and even in intimacy, The L Word articulates an ideology of avoidance whereby the underlying problems of heterosexism and homophobia are left unchallenged.

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“…Queer sexuality challenges that order by calling into question the heteronormative assumptions, attitudes, and values informing it. Herman (2003) defines heteronormativity as the view that heterosexuality is natural and normal for individuals and society: ''[H]eteronormativity does not just construct a norm, it also provides the perspective through which we know and understand gender and sexuality in popular culture'' (p. 144). As Berlant and Warner (1995) point out, this perspective privileges heterosexuality.…”

Section: Queer Theory and The Strategic Rhetoric Of Heteronormativitymentioning

confidence: 99%

Seeing “Straight” throughQueer Eye: Exposing the Strategic Rhetoric of Heteronormativity in a Mediated Ritual of Gay Rebellion

Westerfelhaus¹,

Lacroix

2006

Critical Studies in Media Communication

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Bravo's hit series Queer Eye for the Straight Guy has garnered much popular and critical acclaim. While from a Queer theory perspective, Queer Eye's openly gay stars and their easy fraternization with straight men can be celebrated, there are reasons for critical concern. In interrogating the series as an expression of the strategic rhetoric of heteronormativity, we examine how Queer Eye functions as a mediated ritual of rebellion that domesticates Queers, contains Queer sexuality, and places straight men at the sociosexual center. The series thus supports the very heteronormative order it seems to challenge.

show abstract

"Bad GirlsChanged My Life": Homonormativity in a Women's Prison Drama

Cited by 38 publications

References 17 publications

Racialized Masculinities and the New Homonormativity in LOGO'sNoah's Arc

Racialized Masculinities and the New Homonormativity in LOGO'sNoah's Arc

“We All Have Feelings for Our Girlfriends:” Progressive (?) Representations of Lesbian Lives on the The L Word

Seeing “Straight” throughQueer Eye: Exposing the Strategic Rhetoric of Heteronormativity in a Mediated Ritual of Gay Rebellion

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