Lesbian and Gay representation on television: The L Word and Queer Eye

In comparing representations of individuals in media, a critical look takes into account the intent of the production, whether the individuals being portrayed give a holistic picture of the group or culture, and if it contributes in a meaningful way to the real lives of those represented. As we see more and more productions based on LGBTQ characters or individuals, those viewers actively engaged in the social advancement, quality of life, and actualization of acceptance and rights for the group(s) must be increasingly steadfast in our understanding of the importance of identifying how media relates to these issues by answering these questions. We must understand that culture is as much a commodity as anything else being sold, and representation isn't always a free- or fair- voice.
Consider Queer Eye For the Straight Guy. In it, gay-identified men are featured solely for the purpose of lending their 'queer' aesthetic to clueless straight men. The men are all very similar in mannerism, dress, and personality- typical metrosexual flair- which doesn't offer a fair representation of how varied the gay community is. This is okay in some ways, because almost all tv programs feature shallow personalities as their host.On the other hand, the show does nothing to address the issues facing the community, and everything to sell its culture. However, as a celebration of gay culture, it's nice to see this representation at all, for what it's worth. This isn't to say that LGBQ actors should be limited to the same sort of cookie cutter roles straight actors are, but i think it's fair to say that the other party has many more options on prime-time than do those who are Lbgq- identified. For gay men, it's either Will and Grace yuppie, Christopher Lowell crafty, or Queer Eye fashionistas.
Lesbians, however, have recently scored with The L Word. The episode "Let's Do It"touches on aspects of lesbian culture, as well as adressing those identified as bisexual, gay, and straight. The characters at first seem to refute Cheryl Clarke's statement that "there is no one kind of lesbian, no one kind of lesbian behavior" (Gross and Woods 566), as the lesbian-identified characters tally up staight and lesbian traits of a woman whose preference is unknown. But the production reveals a cast of lesbians whose relationships and personalities are varied and unique- some are committed, one always on the hunt for a good time, another has a weakness for bad girls, even a stalker makes an appearance. the main characters do seem to represent a margin of lesbian community, those who can afford to dine at country clubs, have in-vitro fertalization, and drive fancy little cars, but again, as with Queer Eye this is generally the kind of life dramatic characters lead, and in this case, it doesn't take away from the validity of the show dealing with real issues. This episode parallels a heterosexual and lesbian relationship that supports Andrew Hodges and David Hutter's theory that LGBQ individuals enjoy a more free and forward sexuality than heterosexuals do, as they are unfettered by the usual puritannical conventions that pave the way of heterosexual marriage (554). the male in the heterosexual relationship plays a quite apparent role as the dominant and clueless male. A chart mapped out by a lesbian character that links women who have had encounters or relationships to one another in a constellation-like diagram also supports Hodges and Hutters assertion as most are connected in some way to each other. The episode supports Clarkes's opinion that there is no "one kind of lesbian relationship" either, when a committed couple is upset by a lesbian involved in an affair with an engaged woman (566). From an activist's viewpoint, The L Word does a fantastic job of familiarizing the viewer with LGBQ culture, relationships, and sexuality and encouraging those it represents.

Sources:
http://watchthelword.com/102-lets-do-it

Columbia Reader on Lesbian and Gay Men in Media, Society, and Politics. Editors: Larry Gross and James Woods. Columbia University Press, 1999.

"Brokeback Mountain" and "East Side Story"

Looking at two films which represent queer culture and experience as cultural artifacts, East Side Story and Brokeback Mountain are different from screenplay, to production, to screen. East Side Story is an independent film which attempts to retell the famous West Side Story with gay characters, with a story of coming out and finding true love. It's subplot succeeds in revealing the experience of homophobia, and also of racism. The film as a whole, however, fails. To its credit, it was an independent film, writers Carlos Portugal and Charlo Toledo and crew likely lacked the experience of Brokeback's Ang Lee and Annie E. Proulx, and even while produced in 2006, the budget was small and its poor quality and not-so-talented supporting actors give it the look of a bad late nineties box office flop, but with emabarassingly bad moments of S & M role-playing, gratuitous shots of oral sex and raunchy woman-hating banter, and a few crotch shots short of weird soft porn. A better storyline could have bouyed the piece, but alas, it was full of innuendo and fit right into the slanted stereotype most critics have of gay men and queer culture- that it's all about sexact, the film has its merits, but only those mentioned earlier, and none that redeem it. Considering film as political would warrant this one obsolete, and I would argue that although a gay artist has just as much a right to make a casual, inconsequential movie as the other guy, doing the community a disservice such as this is a travesty. Not so with Brokeback Mountain. A thoughtful, dramatic work, the film shares the intimate journey of two gay men as they try to keep their love secret from themselves and the world. The lives of closeted gay-idenified individuals is represented here, wrought with grief and heartache that a preson of any orientation can understand. Brokeback has given a human face to a population of people, whose story has before now been untold to those confused by their lifestyle. It is a bridge that ties the universal to both the viewer and those the characters represent. The sex scenes are justified in this film, as they support the plotline and are minimal, not frustratingly trashy. The most critical difference between the films is not how much money went into making them, but the careful narrative and handling of it that does justice for the queer community.

Life In Print

The Advocate, theadvocate.com, is a web publication for the queer community that functions as a space of celebration, connection, and information. The page is attractive, reminiscent of the Times web edition, and informs its upwardly-mobile audience with ads for 'gay European hotspots' as well as a little history and current mainstream events affecting the GLBT community; there are headlines concerning politics, youth, music, many on television, human rights, film , drugs, international news, equal rights, and activism. The publication is the community's equivalent of Newsweek- information and entertainment. It contains no editorials on the queer experience, nor does it offer legal advice or face the censorship and harassment gsy and lesbian newsources of the past we re subject- this is due to an overall exercise of freedom of speech, as well as a cultural shift.

Michigan Womyn's Music Festival

There is a sensitive discussion around this event, http://www.michfest.org/. The festival's director Lisa Vogel states that it is to be open to womyn-born- womyn only, and not to any who identify as transgendered. A vote taken at the festival to determine ticket-buyer's opinion resulted in 3/4 support for letting transgensder people in. However, the popular vote in the United States didn't serve womyn's interest until 100 years after its founding, so to rely upon it as an accurate measure of "right" is irresponsible, whether the majority favored inclusion or not. The real issue is the point brought up at the festival's inception, whether or not to allow a transgendered womyn to perform, and the argument for her validity was anounced as

"the DOB newspaper Sisters walked out and offered this statement: "We are disgusted that any lesbian has the audacity to judge the sexuality of another sister. And so we resign." In Los Angeles, Jeanne Cordova wrote an editorial in the Lesbian Tide about this. She said, "Those who vote 'no' tonight vote with our oppressors, Those who vote 'yes' recognize that none of us is free unless all of us are free." http://camp-trans.org/pages/ct-history.html

Even boys as young as 5 are not allowed on the main festival grounds, spending their time at a special camp on site, Brother Sun. If their gender is the only reason for this- which is the only explanation I could find on the site- this is sad, because the festival is a chance to celebrate womyn and to teach the future generation of boys that womyn should be celebrated, not marginalized, or discounted, and that is true equality- a world where womyn feel safe and repected, and loved, everywhere.

Queer Visibilty and Activism

The annual L.A. Dyke March is an event to celebrate and make visible the lesbian community as they work toward equality and human rights, per their manifesto. The participants vary in dress and expression, but don't appear to be dressing differently from any other day in the life. They all seem content, suppported, celebrated and comfortable, and their largest march had 40,000-100,000 participants so they were definitely seen! In regards to political and social goals historically sought out by the movement, events such as these definitely foster solidarity and provide community, as for larger aims, such as laws, freedoms, and dissolving prejudice, it's hard to tell...they are empowering, exciting, a little shocking at times depemding on costume, dress, or lack therof. Micheal Warner, in his piece "What's Wrong With Normal?"seeks to connect with like-minded individuals, gain rights, & protect freedoms, but also to be accepted/celebrated by larger society, easily categorized as freaks as they challenge the 'stigmaphobe' of normalcy with honest expression. He finds two camps of participation, that of sex radical and the other assimilationist. Apparently Chellew is the latter in her article "The Naked Truth", but perhaps not, as she seems to represent those willing to sacrifice image, appearance, and visibilty for real change in rights' legislation, acceptance, and harmony. She might agree that outward expressions that place too much emphasis on sexuality leaves onlookers of these parades with a sense of participants' imbalance, or ill-health.
To gather and march is to celebrate, to encourage, to be seen. How much, or what side we should show is a question only answered by a deliberation of what activism is, whether one is an activist or not.