Trans*(gressive) Failures: Cis-heteronormative Gaze in OTT Media

IF 1.5 Q2 COMMUNICATION

Journal of Creative Communications Pub Date : 2023-11-22 DOI:10.1177/09732586231193571

Shubhda Arora, Noorie Baig, Nidhi Kalra

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引用次数: 0

Abstract

This study offers a critical textual analysis of trans* representation in two popular Hindi web series Sacred Games (Luegenbiehl & Motwane (Executive Producers), 2018–2019, Sacred Games [TV series]) and Paatal Lok (Sharma et al. (Executive Producers), 2020–Present, Paatal Lok [TV series]). We probe how trans* representations function to maintain normative agendas in a heteropatriarchal nation-state. Further, we examine their potential to reify dominant stereotypes in popular media. Our analysis reveals discourses surrounding hegemonic heterosexuality (Yep, 2003, Journal of Homosexuality, 45(2–4), 11–59), transnormativisation (Puar, 2015, Social Text, 33(3 (124)), 45–73) and homohindunationalism (Upadhyay, 2020, Interventions, 22(4), 464–480) based on two trans* characters—Kukkoo and Cheeni. We argue that the characters are conceptualised through a cis-heteropatriarchal imagination in a right-wing nation-state achieved through gendered and racialised othering. We uncover several mediated failures. First, how persistent male gaze functions to centre cis-heteronormative tropes that marginalise trans*ness and the trans* characters. Second, the dual pressures of Puar’s theorisation of ‘passing’ and ‘piecing’ create normativised trans* bodies that are unable to break out of the gender binary. Lastly, we argue that the Hindu-nationalist state works to co-opt and nullify progressive portrayals of trans* characters through its legal and biopolitical machinery.

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Trans*(gressive) Failures：OTT 媒体中的顺式-逆式凝视

本研究对两部热门印地语网络剧《神圣游戏》（Luegenbiehl & Motwane（执行制片人），2018-2019，《神圣游戏》[电视剧]）和《Paatal Lok》（Sharma 等人（执行制片人），2020-至今，《Paatal Lok》[电视剧]）中的跨性别表征进行了批判性文本分析。我们探究了跨性别表述如何在一个异族父权制的民族国家中起到维持规范议程的作用。此外，我们还研究了其在流行媒体中重塑主流刻板印象的潜力。我们的分析揭示了围绕霸权异性恋（Yep，2003，《同性恋杂志》，45（2-4），11-59）、变性规范化（Puar，2015，《社会文本》，33（3（124）），45-73）和同性恋民族主义（Upadhyay，2020，《干预》，22（4），464-480）的论述，这些论述基于两个变性*角色--Kukkoo 和 Cheeni。我们认为，这两个角色是通过性别化和种族化的他者化，在右翼民族国家中通过顺式异性恋想象而被概念化的。我们揭示了几种媒介失灵。首先，持续的男性凝视是如何发挥核心作用，使变性和变性角色边缘化的顺性-异性恋套路成为现实。其次，普阿尔的 "通过 "和 "拼凑 "理论所带来的双重压力，使变性人的身体被规范化，无法突破性别二元对立。最后，我们认为印度教民族主义国家通过其法律和生物政治机制，对变性角色的进步形象进行收编和取消。

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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来源期刊

Journal of Creative Communications COMMUNICATION-

CiteScore

2.70

自引率

26.70%

发文量

期刊介绍： The Journal of Creative Communications promotes inquiry into contemporary communication issues within wider social, economic, marketing, cultural, technological and management contexts, and provides a forum for the discussion of theoretical and practical insights emerging from such inquiry. The journal encourages a new language of analysis for contemporary communications research and publishes articles dealing with innovative and alternate ways of doing research that push the frontiers of conceptual dialogue in communication theory and practice. The journal engages with a wide range of issues and themes in the areas of cultural studies, digital media, media studies, technoculture, marketing communication, organizational communication, communication management, mass and new media, and development communication, among others. JOCC is a double blind peer reviewed journal.