谢丽尔·克拉克的阴蒂经纪公司

David B. Green
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引用次数: 0

摘要

本章的重点是诺亚之弧(标志,2005-2006),一个电视节目,以四个有色人种的男同性恋为主角,在同性恋生活方式为导向的有线电视频道播出了两季。它认为,《诺亚方舟》在流行的喜剧文化类型中发挥了作用,与种族、性及其交叉点的新规范进行了接触——同时也与之相矛盾和破坏。首先,它将黑人中产阶级异性恋规范的焦虑置于背景下,并概述了这些焦虑通过黑人电视传播的一些方式。然后,它从有色酷儿的角度对诺亚方舟进行了解释,以理解其对种族,性的问题框架及其交叉点主要是黑人同性恋男性和女性的种族内部问题。鉴于该节目因强调剧中人物在性别和性取向问题上以牺牲种族为代价而受到批评,它将该节目对媒体自我反思的运用理论化——换句话说,它对电视和电影行业的表现——使其关于种族和性取向在文化行业中的角色的信息复杂化。最后,它考察了节目的数字接收,以了解不同定位的观众——主要是有色人种的酷儿男性——如何从节目的矫情美学和夸张中获得快乐。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Cheryl Clarke’s Clit Agency
This chapter focuses on Noah’s Arc (Logo, 2005-2006) a television show featuring four gay men of color that aired for two seasons on the gay lifestyle-oriented cable channel Logo. It argues that Noah's Arc works within the popular cultural genre of the dramedy to engage with—while also contradicting and disrupting—new normativities of race, sexuality and its intersections. First it contextualizes the anxieties around black middle class heteronormativity and outlines some of the ways in which these anxieties have been negotiated through black televisuality. Then it provides an interpretation of Noah’s Arc from a queer of color perspective to understand its problematic framing of race, sexuality and its intersections as mostly an intra-racial problem of gay black masculinities and femininities. Given that the program has been criticized for foregrounding its characters’ negotiation of gender and sexuality at the expense of their race, it theorizes the program’s use of media self-reflexivity—in other words, its own representations of the television and film industry—to complicate its message about the roles of race and sexuality in the culture industry. Finally, it examines digital reception of the program to understand the way differently positioned audiences—primarily queer men of color—derived pleasure from the program’s campy aesthetics and melodramatic excess.
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