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In recent years there has been a marked increase in both the volume and diversity of sexual imagery and talk on television, condemned by some as a ‘rising tide of filth’, celebrated by others as a ‘liberation’ from the regulations of the past. Television and Sexuality questions both these responses through an examination of television’s multiple channels and genres, and the wide range of sexual information and pleasures they provide. The book explores the way that sexual citizenship and sexual consumerism have been defined in the digital era to reveal the underlying assumptions held by the television industry about the tastes and sexual identities of its diverse audiences. It draws on the work of key thinkers in cultural and media studies, as well as feminist and queer theory, to interrogate the political and cultural significance of these developments. With topics including the regulation of taste and decency, sex scandals in the news, the biology of sex in science programmes, and gay, lesbian and postfeminist identities in ‘quality’ drama, this book is key reading for students in cultural and media studies and gender studies.
This essay collection focuses on the gendered dimensions of reality television in both the United States and Great Britain. Through close readings of a wide range of reality programming, from Finding Sarah and Sister Wives to Ghost Adventures and Deadliest Warrior, the contributors think through questions of femininity and masculinity, as they relate to the intersections of gender, race, class, and sexuality. They connect the genre's combination of real people and surreal experiences, of authenticity and artifice, to the production of identity and norms of citizenship, the commodification of selfhood, and the naturalization of regimes of power. Whether assessing the Kardashian family brand, portrayals of hoarders, or big-family programs such as 19 Kids and Counting, the contributors analyze reality television as a relevant site for the production and performance of gender. In the process, they illuminate the larger neoliberal and postfeminist contexts in which reality TV is produced, promoted, watched, and experienced. Contributors. David Greven, Dana Heller, Su Holmes, Deborah Jermyn, Misha Kavka, Amanda Ann Klein, Susan Lepselter, Diane Negra, Laurie Ouellette, Gareth Palmer, Kirsten Pike, Maria Pramaggiore, Kimberly Springer, Rebecca Stephens, Lindsay Steenberg, Brenda R. Weber
Television conveys powerful messages about sexual identities, and popular shows such as Will & Grace, Ellen, Glee, Modern Family, and The Fosters are often credited with building support for gay rights, including marriage equality. At the same time, however, many dismiss TV’s portrayal of LGBT characters and issues as “gay for pay”—that is, apolitical and exploitative programming created simply for profit. In The New Gay for Pay, Julia Himberg moves beyond both of these positions to investigate the complex and multifaceted ways that television production participates in constructing sexuality, sexual identities and communities, and sexual politics. Himberg examines the production stories behind explicitly LGBT narratives and characters, studying how industry workers themselves negotiate processes of TV development, production, marketing, and distribution. She interviews workers whose views are rarely heard, including market researchers, public relations experts, media advocacy workers, political campaigners designing strategies for TV messaging, and corporate social responsibility department officers, as well as network executives and producers. Thoroughly analyzing their comments in the light of four key issues—visibility, advocacy, diversity, and equality—Himberg reveals how the practices and belief systems of industry workers generate the conceptions of LGBT sexuality and political change that are portrayed on television. This original approach complicates and broadens our notions about who makes media; how those practitioners operate within media conglomerates; and, perhaps most important, how they contribute to commonsense ideas about sexuality.
Since the 1990s, the screening of sex on American, British and Asian television screens has become increasingly prolific. Considering not only the specificities of selected sexualised images in relation to popular series, this study also concerns itself with the ramifications of TV sex as well as discussing the various techniques that are used by TV producers/programme makers to establish the cultural worth of their texts in series such as Shameless, The Tudors and True Blood. The contributions draw attention to shifting representations of sex on television away from the authoritarian state and patriarchal order, toward a more democratic form of representation. As a significant and under-represented aspect of contemporary television studies, this is the first full-length academic collection to consider the wide-ranging representations of sex in society on contemporary television.
DIVA cultural history of sexual content in television shows and TV advertising during the 1970s./div
This collection explores the sexual content of U.S. mass media and its influence in the lives of adolescents. Contributors address the topic of sexuality broadly, including evidence not only about physical sex acts, but also about the role the media play in the development of gender roles, standards of beauty, courtship, and relationship norms. Chapters included here present new perspectives on what teens are paying attention to in the media, and offer insight into how teens are understanding and applying what the media present about sex and sexuality. Employing various methodological approaches, the studies also represent a diversity of adolescent audiences and deal with a wide variety of media content, ranging from teens' favorite TV programs to magazines, movies, music, and teen girls' Web pages. Taken as a whole, this volume highlights the significant roles the media play in adolescents' sexual lives. Sexual Teens, Sexual Media contributes important evidence to the ongoing debate over media effects, making it essential reading for scholars and students in media studies, as well as social and developmental psychology.
In the summer of 2010, Ragan Fox was one of twelve people selected to participate in the twelfth season of CBS's reality program Big Brother. Offering a rare, autobiographical, and behind-the-scenes peek behind Big Brother's theatrical curtain, Fox provides a scholarly account of the show's casting procedures, secret soundstage interactions, and viewer involvement, while investigating how the program's producers, fans, and players theatrically render identities of racial and sexual minorities. Using autoethnography, textual analysis, and spectator commentary as research, Inside Reality TV reflects on and critiques how identity is constructed on reality television, and the various ways in which people from historically oppressed groups are depicted in mass media.
Academy Award-winning screenwriter of the film American Beauty and creator of the HBO series Six Feet Under, Alan Ball has consistently probed the cultural forces shaping gender, sexuality, and death in the United States. Through gritty dialogue and edgy humor, Ball centers much of his social critique on the illusory promises of the American Dream. For many of his characters, a belief in the American Dream--including idealized notions of the family, heterosexual norms, and the acceptance of prescribed gender roles--proves stifling and self-destructive. This is the first book to explore Ball's writings for theater, television and film, with an emphasis on his best-known work. These essays offer insight into both the captivating and problematic dimensions of Ball's work, while drawing connections among his diverse writings. An interview with Ball is included.
Passengers disco dancing in The Love Boat’s Acapulco Lounge. A young girl walking by a marquee advertising Deep Throat in the made-for-TV movie Dawn: Portrait of a Teenage Runaway. A frustrated housewife borrowing Orgasm and You from her local library in Mary Hartman, Mary Hartman. Commercial television of the 1970s was awash with references to sex. In the wake of the sexual revolution and the women’s liberation and gay rights movements, significant changes were rippling through American culture. In representing—or not representing—those changes, broadcast television provided a crucial forum through which Americans alternately accepted and contested momentous shifts in sexual mores, identities, and practices. Wallowing in Sex is a lively analysis of the key role of commercial television in the new sexual culture of the 1970s. Elana Levine explores sex-themed made-for-TV movies; female sex symbols such as the stars of Charlie’s Angels and Wonder Woman; the innuendo-driven humor of variety shows (The Sonny and Cher Comedy Hour, Laugh-In), sitcoms (M*A*S*H, Three’s Company), and game shows (Match Game); and the proliferation of rape plots in daytime soap operas. She also uncovers those sexual topics that were barred from the airwaves. Along with program content, Levine examines the economic motivations of the television industry, the television production process, regulation by the government and the tv industry, and audience responses. She demonstrates that the new sexual culture of 1970s television was a product of negotiation between producers, executives, advertisers, censors, audiences, performers, activists, and many others. Ultimately, 1970s television legitimized some of the sexual revolution’s most significant gains while minimizing its more radical impulses.