RETHINKING THE ‘TRUTH’ OF IDENTITY: DISSECTING QUEERNESS AND EMO SUBCULTURE IN NETFLIX’S THE UMBRELLA ACADEMY

Pradipta Michella Wibrinda
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Abstract

Over the years, the presence of LGBTQ+ community in the media has gone through noticeable change. It is a challenge for online streaming services like Netflix to represent as many communities and subcultures as they can, because accessibility comes with more diverse audience. While many LGBTQ+ characters have been put in the spotlight, those who identify beyond binaries are still arguably underrepresented, especially the ones that belong to socially degraded subculture like emo. The Umbrella Academy is a TV show rooted in emo subculture that feature LGBTQ+ superhero characters, Klaus Hargreeves and Vanya Hargreeves, who do not fully associate with the label “gay”, “lesbian”, or “bisexual”. This study employs what Judith Butler asserts, that gender expressions and practices of desire go beyond binaries, to see how emo subculture engages queerness as rejection to rigid classification of gender identities and sexual practices, as well as a tool to oppose conservatism, especially of previous generations. The discussion reveals that contrary to the popular belief that perceives emo as the culture of straight middle-class white boys, the show perceives emo subculture through the characters’ rejection to absolute identification. The characters show rejection through clothing, behavior, mannerism, and verbal statements. The characters also show opposition to conservatism, which include traditional gender roles, traditional superhero narratives, masculine-feminine polarity, and the ‘truth’ of identity.
重新思考身份的“真相”:在netflix的《伞学院》中剖析酷儿和情绪派亚文化
多年来,LGBTQ+群体在媒体上的存在经历了明显的变化。对于像Netflix这样的在线流媒体服务来说,尽可能多地代表社区和亚文化是一个挑战,因为可访问性伴随着更多样化的受众。虽然许多LGBTQ+角色已经成为人们关注的焦点,但那些超越二元性别的角色仍然没有得到充分的代表,尤其是那些属于社会堕落亚文化的角色,比如emo。《雨伞学院》是一部植根于情绪亚文化的电视剧,主角是LGBTQ+超级英雄克劳斯·哈格里夫斯和万尼亚·哈格里夫斯,他们并不完全与“同性恋”、“女同性恋”或“双性恋”的标签联系在一起。本研究采用了朱迪思·巴特勒(Judith Butler)的观点,即性别表达和欲望的实践超越了二元性,以了解情绪亚文化如何将酷儿作为对性别身份和性行为的严格分类的拒绝,以及反对保守主义的工具,尤其是前几代人。通过讨论可以发现,与人们普遍认为的emo是中产阶级白人直男文化相反,该剧通过角色对绝对身份的拒绝来感知emo亚文化。人物通过服装、行为、举止和言语表达拒绝。这些角色也表现出对保守主义的反对,保守主义包括传统的性别角色、传统的超级英雄叙事、男女对立以及身份的“真相”。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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