In “Breeding Culture, Barebacking, Bugchasing, Giftgiving” Tim Dean (2008) explores the factors behind the emergence of the titular gay subcultures. He argues that, “somewhat akin to the category of queer, barebacking is defined by its resistance… to heterosexual norms… [and] gay norms as well” (p.1). In other words, barebacking queers dominant notions of sex. This is exemplified through the reconceptualization of bottoming - which would traditionally be conceived as the passive/female role in both heterosexual and queer communities – within the barebacking community becomes a hyper-masculine act. A similar idea is put forward in Kagan’s (2016) “Crisis Re-Runs,” in which the author argues that the phenomenon is “a response…to the gender-inversion …show more content…
As such, for Dean (2008), the ways kinship ties intersect with historical events - like the loss of gay men during the AIDS crisis - is crucial to understanding the subculture. Conversely, Kegan (2016) considers how hegemonic ideals structured through heterosexual sexual identity, and the ideological-economic systems of neoliberalism impact the perception and reaction to subcultures like “bug-chasing”. Moreover, Kagan proposes the notion of the “re-crisis” which posits that contemporary reactions use tactics of the previous dominant discourses surrounding AIDS, in order to bolster new cultural and political agendas. The notion of the re-crisis is valuable in considering how the themes of horror and abjection - present in Redman’s (1997) “Invasion of the Monstrous Others”- are reformulated and made newly salient within media discourse. Furthermore, Kegan links the re-crisis to the technologies of neo-liberalism, and their inseparability from homonormativity, a concept previously articulated by Lisa Duggan
...e social changes brought about this period. He cites the growing sensationalism of sex covered in the media as a prime driver behind the sexual orthodoxy in American culture (Chauncey 1994, 359). During this witch hunt, he draws a silver lining. Using the scholarship of others such as John D’Emilio, he cites that this period brought a greater bond to the gay community by forging brotherhood of adversity which would then come back into play in the 1960’s as an experiential touchstone for the Civil Rights era (Chauncey 1994, 360). Chauncey nestles his own narrative of the gay community in New York within the larger narrative of gay life in America filling in the gaps of secondary sources through his own primary work.
Released in 1994, 14 years into the AIDS epidemic, the film had a phenomenal response around the world and in Australia. Travelling from Sydney, the three main characters, played by Hugo Weaving, Guy Peirce and Terrance Stamp, travel to Alice Springs for a cabaret show hosted by Mitzi’s wife. The audience is positioned to sympathise with the main characters during their hardships, and good times. The movie confronts different types of masculinity in an extreme environment. The film presents the stereotypical behavior of gay men that is evident in our society.
Kidd expands on society’s sexual perspectives in mass media and illuminates the stress pushed towards the lesbian, gay, bisexual, and transgender population. He outlines sexuality as one of many influences on the ways we interpret the culture we consume. He supposes that popular culture has five major social roles: generating basic social norms, producing social boundaries, producing rituals that generate social solidarity, generating modernization, and generating social progress. He pays particular attention to Emilie Durkeim and connects his sociological
In an effort to legitimize all subcategories of sexuality considered deviant of heterosexual normatively, queer theory acknowledges nontraditional sexual identities by rejecting the rigid notion of stabilized sexuality. It shares the ideals of gender theory, applying to sexuality the idea that gender is a performative adherence to capitalist structures that inform society of what it means to be male, female, gay, and straight. An individual’s conformity to sexual or gendered expectations indicates both perpetration and victimization of the systemic oppression laid down by patriarchal foundations in the interest of maintaining power within a small group of people. Seeking to deconstruct the absolute nature of binary opposition, queer theory highlights and celebrates literary examples of gray areas specifically regarding sexual orientation, and questions those which solidify heterosexuality as the “norm”, and anything outside of it as the “other”.
In a structured society, as one we’ve continued to create today, has raised concerns over the way society uses the term queer. Queer was a term used to describe “odd” “peculiar” or “strange” beings or things alike, but over the centuries societies began to adapt and incorporate the term into their vocabulary. Many authors such as Natalie Kouri-Towe, Siobhan B. Somerville, and Nikki Sullivan have distinct ways of describing the way the word queer has been shaped over the years and how society has viewed it as a whole. In effect, to talk about the term queer one must understand the hardship and struggle someone from the community faces in their everyday lives. My goal in this paper is to bring attention to the history of the term queer, how different
Gender, in society today, is clarified as either being male which embodies traits of masculinity or on the other hand being female embodying traits of femininity. However the embodiment of these traits are just actions, decisions, or expressions rather than sexual anatomical features we are born and constrained by. Gender depictions are less a consequence of our "essential sexual natures" than interactional portrayals of what we would like to convey about sexual natures, using conventionalized gestures. (West, Zimmerman p.130) This excerpt reinforces the idea that society should view gender not as a absolute but rather a work in progress during your day to day routine. This capability to accept that gender is something you do rather than something that is leads opens up the tolerance to realize the implications that traditional gender views have impacted
Weilin, LI. "The Politics of Gender: Feminist Implications of Gender Inversions from M. Butterfly." The Politics of Gender: Feminist Implications of Gender Inversions from M. Butterfly Cross Cultural Communication 7.2 (2011): 272-77. Print.
The movie “ And The Band Played on” portrayed a massive medical endemic in society that left the world in a state of controversy and fear. Conflict theory is a large scale explanation of sociology that focuses on social inequality (Ferris, Kerry, & Stein, 2016). Within the first 10 minutes, Bill Kraus addresses the Democratic National Committee, hardly gets any applause after a very well-presented speech. When a CDC worker (Dr. Guinan) stresses to her colleague (Dr. Curran) that gay men are on the receiving end of a disease outbreak, Dr. Curran crosses out the word “homosexual” on Guinan’s paper, claiming the administration wouldn’t accept it and the idea of helping them would be killed rather than helped.
In Kennedy and Davis’ article the debate over who is constituted as the “true” lesbian reflects the tension between heterosexuality and butch-fem identities when taken into account ethnic background and assigned gender roles in the relationship. While lesbianism is supposed to pose as a challenge to heterosexuality as the norm, as Kennedy and Davis’ article shows, within the lesbian community practices like the specification of butch-fem roles becomes a tool of oppression similar to conformity to heterosexual traditional gender roles. To illustrate the point that sexuality is based on the “cultural interpretation of sexual experiences” and “articulation” of power relations in society (Halperin 424), this paper focus on Kennedy and Davis’ debate over who is the real lesbian, and it draws on examples from the film Forbidden Love and Lee’s article “Why Suzie Wong is not a Lesbian”. I argue that sexual deviance or otherwise is always defined by a power elite in the interest of protecting and legitimating the current sexual norms. While lesbian culture is meant to be a challenge to these heterosexual norms, and yet its definition of butch-fem roles performs its own marginalization that ultimately reinforces traditional male-female roles. Interestingly, it also uses this power structure to establish the racial exclusions of non-white women that can be traced through the history of European colonization.
Smith, David. ‘Lesbian Novel was danger to Nation.’ Sunday 2 January 2005. The Guardian. Web. 20 Nov 2012. http://www.guardian.co.uk/uk/2005/jan/02/books.gayrights
For the purpose of this study, I will critically examine the representation of homosexuality in Hollywood cinema. I will specifically analyse films from the early 90’s to mid 2000’s from ‘Philadelphia’ to ‘Brokeback Mountain’. This dissertation will argue that over the space of 12 years homosexuality has become an acceptable part of cinema. I will look at early Hollywood’s representation of homosexuality depicting how aesthetically so much has changed. The current paper will predominantly focus on the two films ‘Philadelphia’ and ‘Brokeback Mountain’, by critically analysing the aesthetic differences between each film as well as their overall importance to gay culture.
“The unprecedented growth of the gay community in recent history has transformed our culture and consciousness, creating radically new possibilities for people to ‘come out’ and live more openly as homosexuals”(Herdt 2). Before the 1969 Stonewall riot in New York, homosexuality was a taboo subject. Research concerning homosexuality emphasized the etiology, treatment, and psychological adjustment of homosexuals. Times have changed since 1969. Homosexuals have gained great attention in arts, entertainment, media, and politics. Yesterday’s research on homosexuality has expanded to include trying to understand the different experiences and situations of homosexuals (Ben-Ari 89-90).
Integrating scripting theory with the compulsory heterosexuality theory, a heteronormative, dominant sexual script was explicated, the Heterosexual Script (Sorsoli; Collins; Zylbergold; Schooler & Tolman 2007 p. 145-157). Traditionally, societies have encouraged both men and women to obey different sexual scripts (Laws and Schwartz 1977). This heterosexual scripts has been commented to be extremely gendered as well as breeding gender inequality (Pascoe 2007) and this essay aims to depict the means in which it is gendered along with its influences towards men and women in Western’s
Wilton, Tamsin. "Which One's the Man? The Heterosexualisation of Lesbain Sex." Gender, Sex, and Sexuality. New York: Oxford University, 2009. 157-70. Print.
How does 'sexuality' come into being, and what connections does it have with the changes that have affected personal life on a more general plane? In answering these questions, Anthony Giddens disputes many of the interpretations of the role of sexuality in our culture. The emergence of what he calls plastic sexuality, which is sexuality freed from its original relation of reproduction, is analyzed in terms of the long-term development of the modern social order and social influences of the last few decades. Giddens argues that the transformation of intimacy, in which women have played the major part, holds out the possibility of a society that is very traditional. "This book will appeal to a large general audience as well as being essential reading for those students in sociology and theory."(Manis 1)