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Relevant bibliographies by topics / TV representation

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Journal articles

Academic literature on the topic 'TV representation'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "TV representation"

1

McIntyre, Joanna. "Transgender idol: Queer subjectivities and Australian reality TV." European Journal of Cultural Studies 20, no. 1 (2016): 87–103. http://dx.doi.org/10.1177/1367549416640535.

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Transgender is a marginalised category to which reality TV has given visibility, yet it is usually overlooked in observations regarding the minority groups that have gained mainstream representation through these programmes. Popular Australian reality TV shows have provided a unique space for the constructive representation of certain queer subjectivities. The Australian reality TV contestants in question present gendering that embraces ambiguity, that is, they demonstrate the deliberate disruption and blurring of gender/sex category divisions. This article examines the ways in which Australian reality TV’s representations of transgender contestants remain robustly queer while also being negotiated and made palatable for ‘family’ television audiences. It asserts the reality TV shows that feature transgender performance orchestrate a balance between queer expression and its containment. This article also takes as a case study a particularly successful Australian transgender reality TV contestant, Courtney Act. It argues Act’s representation of queerness was ‘managed’ within the normative framework of mainstream television yet she is still significantly troubled by gender binaries during her time on Australian screen. In 2014, she appeared as a contestant on the United States’ queer-themed reality TV show RuPaul’s Drag Race and again proved to be a reality TV success. This transnational intersection of transgender performance signalled the productive possibilities of international cross-pollination in regard to affirmative reality TV representations of marginalised subjectivities. At the same time, however, it also revealed the localised nature of reality TV, even in those shows with an international queer appeal.

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Hohenstein, Svenja, and Katharina Thalmann. "Difficult Women: Changing Representations of Female Characters in Contemporary Television Series." Zeitschrift für Anglistik und Amerikanistik 67, no. 2 (2019): 109–29. http://dx.doi.org/10.1515/zaa-2019-0012.

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Abstract Starting out with a brief overview of recent TV series that feature complex and complicated female characters – or, as we call them, ‘difficult women’ – this introduction investigates the changing manner in which women have been represented on TV in previous decades. Demonstrating that especially TV shows of the 2010s undermine and work against traditional and stereotypical portrayals of women on TV and instead establish feminist discourses, we argue that this time period can be defined as a pivotal moment with regard to changing representations of women on TV. Using Netflix’s Orange Is the New Black as an example, we also show that TV series that feature difficult women make use of the very techniques and conventions of what Jason Mittell has described as ‘Complex TV’ in order to consciously engage with questions of female representation on TV and to create a feminist discourse that works against sexist tropes and stereotypes.

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3

Pedersen, Vibeke. "TV Aestetics and the Representation of Women." MedieKultur: Journal of media and communication research 2, no. 4 (1986): 17. http://dx.doi.org/10.7146/mediekultur.v2i4.732.

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4

Nakajima, Yasuto. "Production & representation technology on TV program." Journal of the Institute of Television Engineers of Japan 44, no. 1 (1990): 24–28. http://dx.doi.org/10.3169/itej1978.44.24.

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5

Rückert, Jasmin. "Queer Desire in Japanese TV Series." Vienna Journal of East Asian Studies 11, no. 1 (2019): 1–30. http://dx.doi.org/10.2478/vjeas-2019-0001.

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Abstract This article provides an analysis of representations of sexual minorities in Japanese TV series. It outlines how homosexual and queer desire is depicted and how stereotypes and tropes are used in the construction of queer characters in this media format. The article also illuminates the ways in which TV series differentiate between depictions of same-sex romance and opposite-sex romance. The corpus of analysed TV series spans a period of twenty-five years. Thus, the analysis also sheds light on changes in the representation of sexual minorities over time. Examples from recent TV series point to a more positive and sometimes didactic approach towards the topic of homosexuality in Japanese mainstream media.

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Goddard, Edited and introduced by Michael, and Christopher Hogg. "Introduction: Trans TV dossier, III: Trans TV re-evaluated, part 2." Critical Studies in Television: The International Journal of Television Studies 15, no. 3 (2020): 255–66. http://dx.doi.org/10.1177/1749602020937566.

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This is the second more substantial part of the introduction to the final Trans TV special issue, distributed across issues 15.2 and 15.3 of this journal. As well as introducing the contents of this issue, we reflect in this introduction on the Trans TV project as it has developed since 2017, via an engagement with two key televisual texts namely Transparent (2014–2019) and Pose (2018–). We argue that this certainly reflects positive developments in terms of transgender representation and authorship but this progress is more complex when considered in terms of television aesthetics and politics. We also propose, drawing on the work of Koch-Rein et al (2020), a shift form representation towards the concept of ‘transing’ as a reading strategy, and argue that this has been at the heart of the Trans TV project all along.

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7

Vanchenko, Tatyana Petrovna. "On modeling TV programs." Journal of Flm Arts and Film Studies 5, no. 2 (2013): 122–32. http://dx.doi.org/10.17816/vgik52122-132.

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The article examines the presence of shows on TV, reveals the culturological foundations of screen representation as a mass culture phenomenon and points out the techniques of modeling this kind of TV programs.

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8

Dexl, Carmen, and Katrin Horn. "“Beef Jerky in a Ball Gown”: The Camp Excesses of Titus Andromedon in Unbreakable Kimmy Schmidt." Open Cultural Studies 1, no. 1 (2017): 442–53. http://dx.doi.org/10.1515/culture-2017-0041.

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AbstractIn this essay, we look at Titus Andromedon from the Netflix-sitcom Unbreakable Kimmy Schmidt (2014-) as a singular phenomenon in contemporary TV: a black queen whose use of camp distances him from stereotypes, but connects him with audiences. Titus thus not only adds to a more diverse representation of black experience on TV but also interrogates prevailing TV tropes. Titus thus presents a crucial (and critical) addition to the contemporary TV landscape, to which several TV critics in leading media outlets have recently attested a turning point in the representation-both in quantity and quality-of black characters on big and small screens. Titus breaks with historical traditions of African American representation in the sitcom, both in so-called “black sitcoms” with a majority of African American characters and in white sitcoms which have featured people of color as sidekicks. In addition, Titus picks up on gay sidekicks and their relation to female lead characters, whose dynamics are interrogated through Titus’s growing agency as a character in his own right. Titus expands on these novelties in meaningful ways, as he wholeheartedly embraces his queer identity and furthermore offers a running commentary on other characters’ “white nonsense,” thereby clearly refusing the assimilationist tendencies typical for much of “Post-Cosby”-sitcom black representation. This article therefore claims that Titus’ character relies on camp in his balancing act between comic relief, affective centering, and critical distance, and illustrates this by analyzing the specific techniques of Titus’ critical engagement with stereotypical representation of gay and black TV characters.

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9

González-de-Garay, B., M. Marcos-Ramos, and C. Portillo-Delgado. "Gender representation in Spanish prime-time TV series." Feminist Media Studies 20, no. 3 (2019): 414–33. http://dx.doi.org/10.1080/14680777.2019.1593875.

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10

Mingant, Nolwenn Anne. "‘Not A Terrorist’: The Representational Alternative of Reality TV in All-American Muslim." CINEJ Cinema Journal 3, no. 1 (2014): 4–27. http://dx.doi.org/10.5195/cinej.2013.74.

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The reality TV show All-American Muslim depicts the lives of five Muslim families of Lebanese descent in Dearborn. Although the project was conceived as mainstream entertainment and not as a political statement, it led to a controversy over the representation of ‘true’ Muslims. Indeed the interest of the show lies in the fact that it offers its participants an opportunity to express themselves in an otherwise hostile media environment. The reality TV format seems particularly apt at providing a different vision of American Muslim, a vision clashing with images usually conveyed by TV news and Hollywood films. The show proposes a radical shift in the representational paradigm by making the Muslim families typical representatives of the U.S.A.

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