Thesis (Ph.D.)--Syracuse University, 2008. / "Publication number: AAT 3333566."

Thesis (Ph. D.)--University of California, Santa Cruz, 2002. / Typescript. Includes bibliographical references (leaves 273-345).

This project explores the representational strategies used to depict a gay male/straight female dyad across a variety of popular media. The study problematizes and critically evaluates how the narrativization of the dyad both challenges and reinforces stereotypes of gay men and at the same time circulates a troubling image of femininity in the figure of the straight woman. This line of argument is extended to the context of "Lifestyle Television" to demonstrate how the dyad implicitly structures two particular programs. It is suggested that the prevalence of the dyad is in part indicative of an assimilation of a particular gay identity into mainstream culture. The ideological implications of the dyad are discussed throughout this thesis.

On April 30, 1997, for the first time in television history, an actress on a popular television sitcom announced to the world that both se and the character she played were lesbians. This study offers an interpretation of the significance of Ellen DeGeneres' coming through a cultural studies analysis of the April 14, 1997 Time magazine article in which DeGeneres comes out and the April 30, 1997 "Ellen" television episode in which DeGeneres brings her character, Ellen Morgan, out. The study revealed sites of ideological differences between the two texts that could point to a struggle over the meaning of gayness in modern American society. The results suggest that mainstream attitudes and beliefs could be in the process of shifting toward a more normalized view of homosexuality.

This research examined the representation of homosexual men in soap opera Generations. It reveals that while homosexual characters have been incorporated in the locally produced soap opera Generations, the representation of such characters is revealed as 'other’. This dissertation argued that the representation of homosexual men in soap opera Generations are categorized negatively often being seen to be morally degenerate consequently; the inclusion of homosexual men in Generations is often associated with negative stereotypes. This study argues that homosexual men in Generations are often represented as having problems to be solved. This include homosexual men being faced with secrecy, shame, guilt, homosexual violence, rejection and other negative stereotypes as represented in soap opera Generations. The research highlights the social constructions and gender stereotypes in mainstream media television which consider homosexuality as abnormal, unnatural and sickness. The secrecy of homosexuality implied by mainstream media television representation makes homosexuality to appear as something concealed and related to shame and regret. In addition, the dissertation also looks in-depth into categories of negative stereotypes where being a gay primarily realizes on the rigid gender schemas exploited by the mainstream media television to represent homosexual men as not men enough which appeared as natural rather than socially constructed. This study‟s theoretical frame work brought together the concepts of different area of enquiry such as negative representation of homosexuality, homophobia, secrecy, guilt, shame while using discourse analysis. The major areas addressing the coding includes the representation of homosexuality in the text, soap operas' (Generations) representation of homosexual men and the specific themes and objectives guiding each selected episode of Generations. / Thesis (M.Soc.Sc.)-Unversity of KwaZulu-Natal, Durban, 2012.

This study seeks to evaluate how aspects of religion, culture, political context, education and class, amongst others, impact on the manner with which Zimbabwe’s Bulawayo residents make sense of media messages which explore issues of homosexuality, as encountered in the soap opera Generations. This is against the backdrop of Zimbabwean legislation, such as the Sexual Deviancy Act, which criminalises homosexuality and the state victimisation of gays and lesbians in this country. The inclusion of homosexual liberties was rejected by all political parties and both public and private media in the recent drafting of a new rule of law. The legislation, including gay rights exclusion in the new constitution, and state action has perpetuated an impression that Zimbabwe is a deeply homophobic society. As a starting point the study examines the claims of the media imperialism thesis which supposes an all-consuming power of western media and next examines Straubhaar’s thesis of ‘cultural proximity’ which argues that there is often a preference for regional media, which is proximate to viewers’ local culture, language and identity. The study explores the prominence of South Africa as a regional media player and that proximate identities with some cultures in that country have played a role in drawing some Bulawayo viewers to South African television, as they feel slighted by Zimbabwean media. Utilising qualitative research methods, the study explores whether or not the representation of gay images on this South African soap opera provides viewers with opportunities for ‘symbolic distancing’. The concept highlights that when people have insight into lifestyles that are different from their own, they use that as a resource to critically analyse their own lives and cultural understandings. The study evaluates if Bulawayo viewers’ sentiments towards homosexuality has been challenged and changed through their interface with the soap opera, Generations.