De Queer as Folk a Pose, 20 anos depois

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.

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

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.

Television and Domesticity

This chapter considers the representation of the straight girl and queer guy within television form, framing the notion of the glance rather than the gaze, relative to domesticity and female identity. Considering early and developing television representations within sit-com such as those within Love Sidney (Warner Bros 1981–83, US), Tales of the City (Channel 4 1993, UK and US), Ellen (ABC 1994–98, US), Will and Grace (NBC 1998–2006, US) and Gimme Gimme Gimme – (Channel 4, 1999–2001, UK), the notion of union and alliance is foregrounded, whilst also focusing on leisure and consumption. Besides this, the queer guy and straight girl are considered separately as minorities, within Sex in the City (HBO 1998–2004, US) and Girls (HBO 2012 to present, US), where the queer guy is minority to the main straight female cast, and in Queer as Folk (Showtime 2000–5, US) and Looking (HBO 2014–15, US), where the straight girl is minority to the main queer male cast. At the same time the context of bisexuality is explored in Russell T. Davies’s Bob and Rose (ITV 2001, UK) and Torchwood (BBC 2006–11, UK), highlighting the transformation of the queer male as vulnerable to the advances of the straight girl.