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Making Things Perfectly Queer: Interpreting Mass Culture Paperback – June 14, 1993
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Doty argues that films, television, and other forms of mass culture consistently elicit a wide range of queer (sexually liminal) responses, and suggests an interpretive framework for understanding mass culture that stands as a corrective to many standard cultural approaches.
- Print length168 pages
- LanguageEnglish
- PublisherUniv Of Minnesota Press
- Publication dateJune 14, 1993
- Dimensions6 x 0.5 x 9 inches
- ISBN-100816622450
- ISBN-13978-0816622450
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About the Author
Alexander Doty teaches film and mass culture in the English department at Lehigh University He is the author of articles on film, mass culture, and queer studies, and is currently coediting an anthology on lesbian, gay, and queer mass culture theory and criticism.
Product details
- Publisher : Univ Of Minnesota Press; First Edition (June 14, 1993)
- Language : English
- Paperback : 168 pages
- ISBN-10 : 0816622450
- ISBN-13 : 978-0816622450
- Item Weight : 10.2 ounces
- Dimensions : 6 x 0.5 x 9 inches
- Best Sellers Rank: #2,315,729 in Books (See Top 100 in Books)
- #1,276 in TV Shows
- #1,424 in TV History & Criticism
- #3,810 in LGBTQ+ Demographic Studies
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Similarly, in another chapter, Doty dissects the on-screen persona of Jack Benny to allege that the character Benny played in his radio and television series was a closet homosexual. As in the "lesbian narrative" chapter, Doty blows individual bits of dialogue from random episodes out of proportion to insinuate sexual meanings where there almost certainly was none. Doty finds a need to separate the Benny character from Jack Benny himself, going so far as to refer to the character as Jack and the man as Benny. Although Jack Benny's use of feminine mannerisms was part of his comic character, there was never any suggestion of attraction among the males on the series; nevertheless, Doty alleges that Rochester (Eddie Anderson), Don Wilson, and Phil Harris each displayed elements of it, which flies in the face of the frequent references on the show to the beauty of Harris's wife, Alice Faye.
This is a provocative book, but not a very accurate one. Too many of the author's arguments rest on dubious conclusions made from random, ambiguous evidence.
For example, Doty argues that in popular TV shows such as "Alice," "I Love Lucy", "Laverne and Shirley", the show depends on narrating from the perpective of the women in the show. Doty argues that the plot complications almost always stem from some male interference with the pleasure of the narrator, from unwanted suitors to demanding male bosses. Because heterosocial interaction is coded from narrator's perspective as intrusive, Doty labels these plot narratives "lesbian." Thus a queer reading of these shows reveals homosocial, if not homosexual, relationships as the important character and plot elements that are defended.
Then again, it is heterocentrism that defines queer as "homosexual behavior" in the first place, so why should queer studies accept that definition, when its intention is to undermine hetercentrism in the first place!
Jack Benny on the other hand, displays a central character whose behaviors are semiotically coded "feminine." He frets, bites his lip, has a lack of aggressive sexual desire for women, a loose, bouncy walk, and a high-pitched nervous giggle, to mention but a few things. The narrative display a central tendency to displace Benny from situations of power and influence--not the least of which was Benny's self-deprecating humor. Doty reminds us that Benny's biographies are full of his contemporaries remarking on his feminine characteristics. In this case, a queer reading is produced by taking an ostensibly "straight" man and imbuing him thoroughly with clearly "female" characteristics, all of which adds up to a queer character, never fitting in with compulsory heterosexual and masculine traits.
These are just two examples of how queer readings are produced in Doty's work. All in all, he aims to show that it is queerness, not straightness, that lies at the center of mass cultural production. Thus he argues for the overturning of heterocentricity as the dominant way of reading culture. A tall claim, no doubt, but one that is tantalizing nonetheless.