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Making Things Perfectly Queer: Interpreting Mass Culture Paperback – June 14, 1993

4.2 4.2 out of 5 stars 7 ratings

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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.

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Editorial Reviews

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
  • Customer Reviews:
    4.2 4.2 out of 5 stars 7 ratings

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4.2 out of 5 stars
4.2 out of 5
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Reviewed in the United States on August 29, 2014
The late Alexander Doty helped so many of us to shift from Gay & Lesbian studies to a broader queer approach, and he did it in this book. The introduction remains a highly accessible and valuable description of the field of queer studies, and his chapter on queer auteurs George Cukor and Dorothy Arzner offers a compelling model for film scholars. If some of the other chapters are out of date or more whimsy than we often allow in scholarship, so be it. He entertains and educates, and the world is less bright without Doty. This remains a go-to queer media studies introduction in my library.
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Reviewed in the United States on November 12, 2012
In this provocative book, Alexander Doty characterizes many sitcoms centered on female casts as having "lesbian narratives." By this he doesn't mean that the women are lesbians, but that the situations on the series are centered on interaction among a core group of women, such as Lucy & Ethel on "I Love Lucy," Lucy & Viv on "The Lucy Show," Mary & Rhoda & Phyllis on "The Mary Tyler Moore Show," and the four women of "The Golden Girls," among others. Certainly, then, a better word is needed to describe this. Feminine narrative, perhaps? So Doty is correct to say that a feminine narrative is behind most of these shows (maybe not "I Love Lucy," which included strong male participation). However, what this has to do with lesbianism is most unclear. Indeed, Mary & Rhoda and the characters on "The Golden Girls" spent most of their effort trying to pursue male companionship. Doty blows many things (single lines of dialogue) out of proportion to insist that homosexuality was being implied in some of these series. His arguments for this are weak. Even weaker are assertions that more was going on between some of the female actors off-screen than they stated publicly. But this is based on vague and ambiguous second-hand statements allegedly made to biographers and doesn't belong in an academic volume; it's more like tabloid trash.

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.
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Reviewed in the United States on November 26, 2001
Doty's volume is very popular. Here he analyzes various forms of mass culture, from the Jack Benny radio program to the TV program "Laverne and Shirley" to demonstrate the existence of queer (non-heterosexually coded performance) narratives at the center of all of these cultural productions.
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.
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