scholarly journals De Queer as Folk a Pose, 20 anos depois

2021 ◽  
Vol 28 (1) ◽  
pp. e40929
Author(s):  
André Iribure Rodrigues
Keyword(s):  
Queer As Folk

Este trabalho visa apresentar um panorama diacrônico das abordagens de dois seriados veiculados em períodos distintos, num intervalo de duas décadas. O primeiro, intitulado Queer as Folk, de 2000, na TV por assinatura, aborda as vivências não normatizadas da sexualidade gay e lésbica, enquanto o segundo, Pose, mais recente, por streaming, avança nas representações de minorias transexuais e transgêneros, com cortes de raça e de classe social. Evidencia-se, a partir de um olhar sobre os estudos de gênero e da sexualidade, com aporte das representações sociais da psicologia social e dos estudos culturais, pela análise de conteúdo, como se dão as visibilidades das tensões e das negociações do que escapa da heteronormatividade nos limites da ficção seriada televisiva. Da visibilidade de uma hegemonia gay, branca, classe média com o mote da homofobia, duas décadas após, percebe-se as representações de pessoas negras e vulneráveis social e economicamente ao enfrentarem a transfobia.

Not the Last Word: Point and Counter-Point: The Discovery of Affluenza and the Favelas Above: A Rising Tide Brings the End of Dry Economics

1989 ◽  
Vol 14 (3) ◽  
pp. 16-17
Author(s):  
Chris Goddard
Keyword(s):  
The Sun ◽  
Queer As Folk

There is a Yorkshire expression, that many people are fond of quoting, to account for strange behaviour: “There's nowt so queer as folk”. Some folk, always other folk and never oneself, are more queer than others (and many Englishmen would claim that Yorkshire folk are stranger than most, but that's another story).The expression came to mind when I read a column in Icaro, the magazine of Varig, the Brazilian airline. I am not fond of flying at the st of times and finding a magazine called Icaro in the seat pocket of a fully-laden jet increased my anxiety. Icaro, presumably, is Portuguese for that legendary character Icarus who, in attempting to escape from Crete, flew so high that the sun melted the wax that held his wings on with the consequence that he fell in the sea. A stranger title for an airline magazine would be hard to find.

Queer as Folk

Arthuriana ◽  
2019 ◽  
Vol 29 (2) ◽  
pp. 24-46
Author(s):  
Donald L. Hoffman
Keyword(s):  
Queer As Folk

"Never the Same One Twice": Melodrama and Repetition in Queer as Folk

Genre ◽  
2013 ◽  
Vol 46 (3) ◽  
pp. 419-442 ◽  
Author(s):  
M. E. Johnson
Keyword(s):  
Queer As Folk

A ‘New Wave’ in British Television Drama

2005 ◽  
Vol 115 (1) ◽  
pp. 23-32 ◽  
Author(s):  
Lez Cooke
Keyword(s):  
Working Class ◽  
Subject Matter ◽  
New Wave ◽  
Television Drama ◽  
American Television ◽  
The World ◽  
British Cinema ◽  
The Subject ◽  
Queer As Folk ◽  
The 1960S

In recent years, American television drama series have been celebrated as ‘quality television’ at the expense of their British counterparts, yet in the 1970s and 1980s British television was frequently proclaimed to be ‘the best television in the world’. This article will consider this critical turnaround and argue that, contrary to critical opinion, the last few years have seen the emergence of a ‘new wave’ in British television drama, comparable in its thematic and stylistic importance to the new wave that emerged in British cinema and television in the early 1960s. While the 1960s new wave was distinctive for its championing of a new working-class realism, the recent ‘new wave’ is more heterogeneous, encompassing drama series such as This Life, Cold Feet, The Cops, Queer as Folk, Clocking Off and Shameless. While the subject-matter of these dramas is varied, collectively they share an ambition to ‘reinvent’ British television drama for a new audience and a new cultural moment.

scholarly journals [This Closed Captioning is brought to you by Compulsive Heterosexuality/Able-bodiedness]

2019 ◽  
Vol 39 (3) ◽  
Author(s):  
Celeste Reeb
Keyword(s):  
Case Studies ◽  
Technological Advancement ◽  
Scholarly Work ◽  
Closed Captioning ◽  
Federal Mandate ◽  
Queer As Folk ◽  
And Control ◽  
Ideological Work ◽  
The Way

This paper examines the way that language attempts to categorize and control bodies through the space of closed captioning. The paper examines three different incidents of closed captioned in television sex scenes to argue that queering and cripping provide a framework to examine how the rhetorical choices in closed captioning reflect larger anxieties over bodies engaged in pleasure in a space coded as "disabled." In considering closed captioning as a space coded as "disabled" what is made caption-visible (and what is not) can enforce a dual binary of heterosexuality/abe-bodiedness against queer/disabled. This dual binary is examined in three different case studies, Scandal, Queer as Folk, and Orange is the New Black; all 3 examples provide an overview of how closed captioning has performed ideological work which has largely gone unnoticed. This paper intervenes into the scholarly work which positions closed captioning as just a federal mandate or technological advancement. Instead, we should be looking at closed captioning as a series of rhetorical choices. By examining captioning, we can see the limits of defining, categorizing, and containing bodies and sex through language and disrupt ideas of normalcy which are being enacted in the space of closed captioning.

scholarly journals Imagem e Sublime: um estudo de caso. Análise da série televisiva Os Assumidos

2007 ◽  
Author(s):  
Sofia Zanforlin
Keyword(s):  
Queer As Folk

O artigo se divide em três partes: primeiro, percorremos a definição de Jean FrançoisLyotard sobre o conceito de sublime. Num segundo momento, buscamos acepções sobre osentimento do sublime no contemporâneo através do conceito de ‘sublime tecnológico’,desenvolvido por Mario Costa, em que o autor defende a possibilidade da expressão dosentimento sublime em meio ao contexto atual de multiplicação e banalização de imagens esignos na comunicação de massas. No terceiro momento, procuramos analisar à cena finalda primeira temporada do seriado televisivo  Os Assumidos (Queer as Folk), e assimresponder à questão: há espaço para a contemplação, para a reflexão, condições apontadaspor Lyotard como necessárias ao surgimento do sentimento sublime no contexto daprogramação de TV?

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