The Pedagogy of Queer TV

Abstract

Palgrave Entertainment Industries is the first series to take an empirical multidisciplinary approach to the understanding of entertainmentdefined as "audience-centred culture". The series understands the work of culture by studying production (including distribution), texts and consumption practices. While maintaining a sophisticated and reflective intellectual stance, Palgrave Entertainment Industries leaves behind anti-empirical "mass-culture" models of commercial culture in order to take an evidence-based approach to entertainment as a cultural system.Entertainment has been an integral component of everyday lives throughout modernity, remaining remarkably consistent in its textual features for over two hundred years. It is the form of most culture consumed by the majority of citizens of Western countries. The entertainment industries are diverse, encompassing sectors including film, radio and sports, music, television, casinos and live events/festivals, and were estimated to be worth more than US$2.2 trillion in 2012, in addition to employing millions of people around the world.This innovative new series will address the lack of academic attention devoted to entertainment by examining the ways that entertainment as a product, as an industry and as an activity can be understood in our society.

Whose Lifestyle Matters at Johannesburg Pride? The Lifestylisation of LGBTQ+ Identities and the Gentrification of Activism

“…With the advance of legal rights in many states from the 1990s onwards, there has been a shift in dominant representations of LGBTQ+ 'lifestyles' as morally corrupt and deviant, to positive and normative (McRobbie, 2008). However, the 'mass-mediated queer lifestyle' (Eng, 2010: 3) evident across many aspects of popular culture in the Global North, and in LGBTQ+ focused advertising, constructs and privileges particular LGBTQ+ 'homonormative' lifestyles over others (Butler, 2002;Duggan, 2004;Parsemain, 2019;Ward, 2008). The 'lifestylisation' (Bell and Binnie, 2000;Puar, 2017) of LGBTQ+ identities, where being gay becomes 'one more brand name to buy' (Bell and Binnie, 2000: 99) is precisely what concerns queer critics of the commercialisation of Pride.…”

(Guilty) Viewing Pleasures and Reality TV: Queer Viewers Decoding the Greek Version of The Bachelor

“…Their monograph, traversing various television program genres, reveals how reality shows can accommodate queerness and allow their audiences to learn about the queer self and the queer other. 5 Both works, continuing the cultural studies tradition of studying the polysemous qualities of media texts and the meanings made of their content by active audiences, offer exciting insights into the field of gender and sexually diverse television representation. 6 What is worth mentioning, however, is that the concept of reception, as used within this strand of scholarship, is primarily based on researchers' practices of watching and interpreting the texts and not on real audiences.…”

Semi-Autobiografias Televisivas E Autonomia Narrativa: Modos Outros De Contar E Representar Nas Séries I May Destroy You E Better Things

“…(...) O crédito vai, claro, para a equipe de roteiristas. São todos jovens e negros, e quase nenhum deles tinha trabalhado com escrita televisiva antes (STEPHEN, 2018, p.8) Seguindo lógica semelhante de que realismo e surrealismo podem se retroalimentar ao serem empregados para representar questões de difícil inteligibilidade e que por trás de roteiro e direção da série há questões políticas que atravessam e são atravessadas não só por quem escreve, mas também como escreve e dão forma à narrativa, Parsemain (2019) analisa o "complexo pedagogismo queer" de Transparent (Prime Video, 2014-19). Inspirada na história da mãe da autora Jill Solloway, a série nos apresenta Maura, que, na casa dos 60 anos, se assume como mulher trans para seus filhos.…”