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• W74308811 abstract "As an autoethnographic study, this essay con siders late 20th and early 21st century broad cast and film productions?those moving im ages that shaped the author's understanding of the world. Examining that world through a queer theoretical lens, the author explores how media and visual cultural studies can serve as fertile sites for critically reading contemporary culture and understanding social change. The author also describes how visual art educators can open up discussions regarding lesbian, gay, bisexual, transgender and queer subjects, and challenges such pedagogical practices as per formances of social justice and commitments to human rights for all students. In this essay I examine film and broad cast media's production of social meaning, arguing that queer1 readings of these sites can be of service to arts educators and proponents of visual cultural studies who value social justice. This text is intended as a resource for students and instructors in higher education who may (not) have considered the significance of queer bod ies of art and research, or the social, po litical and ethical implications of sustaining silence on gay and lesbian subjects and artists' identification in film and televisual media. I will open this essay by sharing my personal experiences with broadcast me dia and film?an autoethnographic (Pinar & Reynolds 1992, Pinar 1998) tale that lo cates my political and social standpoints. I will proceed with examinations of queer film and television products and those who create, theorize, and criticize these cultural works. Employing content analyses (Jae ger, 1997; Gamson, 2003) this discussion will consider the moving image's production of raced, classed and (homo)sexualized bodies. I will also focus on the relations be tween producers and consumers of queer media and the social impact of queer rep resentations. I undertake this exploration deeply committed to human dignity, indi vidual liberty and social justice. Queer Readings of Mid-to-Late 20th Century Media As a child of the baby boom, my life seems to have been defined by TV, film, and ra dio. Vividly I can recall watching the tubes cool down after manually switching off the family's 9 Crosley console TV, wonder ing if I could see Felix (the cat syndicated 1954-1958) with his tail waving good bye in the yellow glow. Amidst pinging of quickly cooling glass, I imagined Garfield Goose's tap-tap-tapping (Frazier Thomas 1952-1980 on WGN), wondering where he roosted for the night. Fractured Fairytales (1959-1961), The Three Stooges (Co lumbia's syndication of their 190 shorts in 1959), and Adventures of Rocky and Bull winkle (1959-1964) became my afternoon media staple. These seemingly irreverent, violent, and humorously troubling critiques of middle class values and cold-war crisis discourse have incited my thinking about good and evil; thoughts at times difficult to reconcile with my lived experience and family viewing of prime-time media cover age of the Viet Nam War in the late '60s. Ozzie and Harriett (Nelson, 1952 1966), Father Knows Best (1954-1963), and Leave it to Beaver (1957-1963) were the programs that for me constructed what it meant to live in a normal middle class, Caucasian household. I often cross-read those media portrayals within and against 44 VISUAL ARTS RESEARCH ? 2007 by the Board of Trustees of the University of Illinois This content downloaded from 157.55.39.102 on Thu, 23 Jun 2016 05:59:11 UTC All use subject to http://about.jstor.org/terms fractured fairy tales and my experience of friends and families that surrounded me. Television broadcasts tried to teach me what it meant to be a heterosexual male child; obedient and respectful, strong, hon est, powerful, handsome, white, able-bod ied and courageous. But I also took from them a yearning to crawl into bed with Wal ly Cleaver; to be positioned between Dobie Gillis and Maynard G. Krebbs (Dobie Gillis Show, 1959-1963) as they perhaps wres tled and roughhoused during the com mercial; or to linger in the one bathroom shared by the Arthur McMurray and his boys (My Three Sons, 1969-1972). These serials, while overtly constructing what it meant to be straight, could nonetheless be read queerly. To do this, however, required I employ queer reading practices that rec onciled the televised narratives with those signs, signifiers and significant others that frequented my mother's 24/7 truck stop. As an adolescent in the early 1960s and an out-teen by my sophomore year in high school, I used multiple arts as media through which I could explore my alternate readings of normalcy; reading practices (un)intentionally tutored by neo Marxist, publicly closeted gays, and early feminist classroom teachers and art spe cialists. Between 1964-1969 these educa tors introduced me to the plays of Eug?ne Ionesco (1909-1994), Jean Genet (191 994, whose work was banned in the U.S. in 1951 for its portrayals of homosexual ity, Bertolt Brecht (1898-1956), Theater of the Absurd, the writings of Gertrude Stein (1874-1946), Allen Ginsburg (1926-1997) and beat generation poetry, jazz and art. Every spring, from middle school forward, I performed in an annual musical produc tion by either Noel Coward (1899-1973) or Cole Porter (1891-1964). In the fall, I acted in serious dramas authored by Thornton Wilder (1897-1975) such as Our Town to works by William Shakespeare (1564 1616). Looking back on these adolescent cultural encounters roughly forty years lat er, I recognize that gay ancestors largely penned the productions I most revered. Regrettably, at that time, only a single dra ma instructor would acknowledge any of these playwrights' sexual identifications. Since high school, I have been inves tigating artists' sexual identifications-data obfuscated through a middle-American miseducation. Like the 2004 biographic rendering of Cole Porter's life, De Lovely (starring Kevin Kline and Ashley Judd) these gay artists' lives seem to be hid den in multilayered thematic dramas that silently unfolds amidst politico-sexual sup pressions. Visual cultural research, criti cism, and portrayals of artists' lives can, however, open up readings of sexual data and suggest ways of grappling with those interests seeking to silence such informa tion. Dealing with such silencing, the 2002 PG-13 rated film, Unconditional Love (star ing Kathy Bates and Rupert Everett) hu morously examined a presumably straight daytime television heart-throb crooner's murder, and those heirs' seeking to evict his long-time male lover (Everett) from both home and public visibility. The movie caused me to wonder if perhaps some day too soon my own family or future scholars might attempt to straighten out my work for their own political or religious projects. If that should happen, I can only hope there will be a Bates-like character ready to dis mantle any family-constructed closet door that denies my passions. Such disclosures are not necessarily acts of political activ ism, but at times, they may be just the right thing to do. Our lives, like the art we create, relin quish their private meanings after we have passed through the world. Our creative products and autobiographies become open texts for analyses that inevitably may be subject(ed) to revised readings. While still creating in, of, and upon the world, we may attempt to be clear about our visions of reality and the worlds we imagine, and yet we must also acknowledge that there are no guarantees on how these may be read in the future. This is the risk we take in making, performing, and recording our realities and visions. Arts educators willing to challenge with" @default.
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• W74308811 title "Queer visual culture texts" @default.
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