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Introduction: What Is Queer Production Studies/Why Is Queer Production Studies?

Introduction: What Is Queer Production Studies/Why Is Queer Production Studies? Introduction: What Is Queer Production Studies/Why Is Queer Production Studies? alfred l. martin jr. in the 1980s, paying attention to audiences in the period immediately following the 1969 Stonewall riots—a period hegemoni­ and production practices as well as mediated cally understood as the start of the modern images, scholars began by building upon the gay rights movement—gay men and lesbians work of Birmingham School scholars such as began proclaiming themselves out and proud. Stuart Hall. However, the work this engagement As part of that proclamation, gay men and produced rarely included axes of “difference.” lesbians began to protest the ways they were When differences were accounted for, scholars being depicted across media forms. Focusing often studied representations of white women on the harm that could parasocially come from (as in seminal work by Julie D’Acci and Janice “mainstream” viewers being exposed to images Radway). Alexander Doty challenged queer of gay men and lesbians that hewed closely studies scholars to engage with media produc­ to stereotypical gender­ inversion models, the tion and reception practices, suggesting that early to mid­ 1970s saw organizations such as there are three places in which queer media the Gay and Lesbian Task Force begin trying http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Film and Video University of Illinois Press

Introduction: What Is Queer Production Studies/Why Is Queer Production Studies?

Journal of Film and Video , Volume 70 (3) – Aug 24, 2018

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Publisher
University of Illinois Press
Copyright
Copyright © 2008 The Board of Trustees of the University of Illinois.
ISSN
1934-6018

Abstract

Introduction: What Is Queer Production Studies/Why Is Queer Production Studies? alfred l. martin jr. in the 1980s, paying attention to audiences in the period immediately following the 1969 Stonewall riots—a period hegemoni­ and production practices as well as mediated cally understood as the start of the modern images, scholars began by building upon the gay rights movement—gay men and lesbians work of Birmingham School scholars such as began proclaiming themselves out and proud. Stuart Hall. However, the work this engagement As part of that proclamation, gay men and produced rarely included axes of “difference.” lesbians began to protest the ways they were When differences were accounted for, scholars being depicted across media forms. Focusing often studied representations of white women on the harm that could parasocially come from (as in seminal work by Julie D’Acci and Janice “mainstream” viewers being exposed to images Radway). Alexander Doty challenged queer of gay men and lesbians that hewed closely studies scholars to engage with media produc­ to stereotypical gender­ inversion models, the tion and reception practices, suggesting that early to mid­ 1970s saw organizations such as there are three places in which queer media the Gay and Lesbian Task Force begin trying

Journal

Journal of Film and VideoUniversity of Illinois Press

Published: Aug 24, 2018

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