This thesis examines the development and evolution of the gay movement. It raises the questions as to why the gay movement was not organized prior to the 1960's. The study starts in the 1940's and ends in 1970. It employs qualitative research methods for the collection and analysis of primary and secondary data sources. Blumer's description of general and specific social movements and Resource Mobilization Theory were used as theoretical frames of reference. The former explained the developmental stages in the career of the movement and the latter focused on the behavior of movement organizations.

This study attempted to make releveant connections between the marginalization theory posited by Edward Herman and Noam Chomsky and Indiana news media coverage of the 1993 Gay, Lesbian and Bi-Sexual March on Washington. To date, Herman and Chomsky's work has looked at the marginalization of political or racial minorities. This study looked at how the elements of marginalization, the perpetuation of stereotypes and the complete annihilation of thought or consideration of the minority group, as seen regarding gay and lesbian people in America. Further, the theory guided the study's content analysis of Indiana news media coverage of the 1993 Gay, Lesbian and Bi-Sexual March on Washington. Taking the form of a case study, the contextual basis for the content analysis was provided by an interview with Gregory Adams, media co-chair for the march.Indiana coverage of the march in The Indianapolis Star was content analyzed sentence-by-sentence, while the same coverage was analyzed sentence-by-sentence from stories broadcast on WISH-TV, Channel 8 in Indianapolis. In addition, media images from the March broadcast by WISH-TV, Channel 8 in Indianapolis were also content analyzed video cut-by-cut.The study found gay and lesbian people were marginalized in the text of the Indiana news media coverage. The study also found that the marginalization of gay and lesbian people in the coverage was consistent among the three media types measured (newspaper text, television text and television images). / Department of Journalism

Typescript. / Thesis (Ph. D.)--University of Hawaii at Manoa, 1979. / Bibliography: leaves 198-208. / Microfiche. / viii, 208 leaves 29 cm

Thesis (Ph. D.)--University of Texas at Austin, 1998. / Vita. Includes bibliographical references (leaves 143-152). Available also in a digital version from Dissertation Abstracts.

Thesis (Ph. D.)--University of California, Santa Cruz, 2000. / Typescript. Includes bibliographical references (leaves 372-381).

Thesis (Ph. D.)--University of Auckland, 2000. / Embargoed until 25 October 2001.

No description available.

This dissertation examines the gay rights movement occurring in Dallas, Texas, from the mid-twentieth century to present day by focusing on the work of the Dallas Gay and Lesbian Alliance (DGLA), previously known as the Dallas Gay Political Caucus and the Dallas Gay Alliance. Members of that group utilized a methodology they called "the Dallas Way" that minimized mass protests and rallies in favor of using backroom negotiations with the people who could make the changes sought by the movement. The fact that most of the members of the DGLA were white, professional men aided in the success of their methodology. Particularly useful in this type of effort is the use of legal action. The Dallas community supported several lawsuits that attempted to overthrow various versions of sodomy laws in the Texas Penal Code that criminalized an entire population of gay men and lesbians in the state.

This thesis argues that the work of the artist David McDiarmid is to be read as an enactment of late twentieth century gay male and queer politics. It will analyse how both the idea and the cultural specificity of ???America??? impacted on the work of this Australian artist resident in New York from 1979 to 1987. The thesis examines how African American music, The Beats, notions of ???hip??? and ???cool???, street art and graffiti, the underground dance club Paradise Garage, street cruising and gay male urban culture influenced the sensibility and the materiality of the artist???s work. McDiarmid???s cultural practice of dress and adornment, it is proposed, forms an essential part of his creative oeuvre and of the ???queer worldmaking??? which is the driver of his creative achievements. The thesis proposes that McDiarmid was a Proto-queer artist before the politics of queer emerged in the 1980s and that his work, including his own life-as-art practices of dress and adornment, enact a mobile rather than fixed gay male identity.

This thesis argues that the work of the artist David McDiarmid is to be read as an enactment of late twentieth century gay male and queer politics. It will analyse how both the idea and the cultural specificity of ???America??? impacted on the work of this Australian artist resident in New York from 1979 to 1987. The thesis examines how African American music, The Beats, notions of ???hip??? and ???cool???, street art and graffiti, the underground dance club Paradise Garage, street cruising and gay male urban culture influenced the sensibility and the materiality of the artist???s work. McDiarmid???s cultural practice of dress and adornment, it is proposed, forms an essential part of his creative oeuvre and of the ???queer worldmaking??? which is the driver of his creative achievements. The thesis proposes that McDiarmid was a Proto-queer artist before the politics of queer emerged in the 1980s and that his work, including his own life-as-art practices of dress and adornment, enact a mobile rather than fixed gay male identity.