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L words: TV's new queer lexicon.

Moore, Candace Irene.

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L words: TV's new queer lexicon.

Record Type:	Electronic resources : Monograph/item
Title/Author:	L words: TV's new queer lexicon./
Author:	Moore, Candace Irene.
Description:	290 p.
Notes:	Source: Dissertation Abstracts International, Volume: 72-09, Section: A, page: 3030.
Contained By:	Dissertation Abstracts International72-09A.
Subject:	Mass communication. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3462857
ISBN:	9781124754574

L words: TV's new queer lexicon.
Moore, Candace Irene.

L words: TV's new queer lexicon. - 290 p.

Source: Dissertation Abstracts International, Volume: 72-09, Section: A, page: 3030.

Thesis (Ph.D.)--University of California, Los Angeles, 2010.

This item is not available from ProQuest Dissertations & Theses.

L Words: TV's New Queer Lexicon analyses the production, reception, and text of the popular cable television show The L Word (2004--2009), setting The L Word within a history of the representation of transgressive female sexuality in television from the 1950s on, in order to trace how cable television in this millennium attempts to profit from and incorporate queerness. Engaging in close textual analysis of The L Word's episodes as well as publicity and fan discourses surrounding the show, I consider The L Word's use of lesbian and queer sexuality to draw both queer and straight viewers within a larger examination of changes in the portrayal of queer women in television. The approach of my dissertation is multiple---including historical, theoretical, textual, industrial, and cultural analyses as well as a study of fan viewing practices---because I believe in an integrated approach to media studies. The historical (Chapters One and Two), industrial (Chapter Two), textual (Chapters Three and Four), and audience (Chapters Four and Five) analyses are linked by their common use of discourse analysis and their joint concern with the "occasionality" of media texts and textual elements. By honing in on one media text with The L Word, I am able to more thoroughly examine its production and marketing, representational elements, and reception while putting it into a larger cultural, theoretical, and historical perspective, thus offering a good sense of its context, without privileging either the text or its context. I argue that queerness within The L Word represents not only alternative sexualities and gender performance but varying intersections of difference---including racial and class-based differences. While providing a new history of queer representation on television, I attempt to go "beyond the image" in tracing industrial trends of narrowcasting in cable, and providing an institutional analysis of Showtime, its parent company Viacom, and its main competitor, HBO. My dissertation investigates how deregulation nurtured the growth of premium channels as well as how certain technological and policy changes led to the advent of the pay cable "original series," causing cable to directly compete with the broadcast networks for prime time viewers. With The L Word, Showtime has discovered a way to provocatively portray women having sex with each other, drawing a heterosexual "soft core" audience in a way that also serves minority audience members. This strategy fulfills Showtime's general "commitment to diversity," while remarketing the same programming to broader audience.

ISBN: 9781124754574Subjects--Topical Terms:

2144804
Mass communication.

L words: TV's new queer lexicon.
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520 $a L Words: TV's New Queer Lexicon analyses the production, reception, and text of the popular cable television show The L Word (2004--2009), setting The L Word within a history of the representation of transgressive female sexuality in television from the 1950s on, in order to trace how cable television in this millennium attempts to profit from and incorporate queerness. Engaging in close textual analysis of The L Word's episodes as well as publicity and fan discourses surrounding the show, I consider The L Word's use of lesbian and queer sexuality to draw both queer and straight viewers within a larger examination of changes in the portrayal of queer women in television. The approach of my dissertation is multiple---including historical, theoretical, textual, industrial, and cultural analyses as well as a study of fan viewing practices---because I believe in an integrated approach to media studies. The historical (Chapters One and Two), industrial (Chapter Two), textual (Chapters Three and Four), and audience (Chapters Four and Five) analyses are linked by their common use of discourse analysis and their joint concern with the "occasionality" of media texts and textual elements. By honing in on one media text with The L Word, I am able to more thoroughly examine its production and marketing, representational elements, and reception while putting it into a larger cultural, theoretical, and historical perspective, thus offering a good sense of its context, without privileging either the text or its context. I argue that queerness within The L Word represents not only alternative sexualities and gender performance but varying intersections of difference---including racial and class-based differences. While providing a new history of queer representation on television, I attempt to go "beyond the image" in tracing industrial trends of narrowcasting in cable, and providing an institutional analysis of Showtime, its parent company Viacom, and its main competitor, HBO. My dissertation investigates how deregulation nurtured the growth of premium channels as well as how certain technological and policy changes led to the advent of the pay cable "original series," causing cable to directly compete with the broadcast networks for prime time viewers. With The L Word, Showtime has discovered a way to provocatively portray women having sex with each other, drawing a heterosexual "soft core" audience in a way that also serves minority audience members. This strategy fulfills Showtime's general "commitment to diversity," while remarketing the same programming to broader audience.
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