The Queer Politics of Television by Samuel A. Chambers

By Samuel A. Chambers

This is a thorough publication, which brings jointly the fields of political thought and tv experiences. in a single of the 1st books to take action, Samuel A. Chambers exposes and explores the cultural politics of tv by way of treating tv shows--including Six ft Under, Buffy, Desperate Housewives, The L Word, and Big Love--as critical, very important texts and analyzing them intimately during the lens of queer theory.

Samuel A. Chambers makes the case for the profound importance of "the cultural politics of television," the best way a tv show's  textual content itself engages with the politics of its day.  He argues for queer theory's crucial contribution to any knowing of the political, and initiates a bigger venture of queer tv experiences. this can be an immense and clean contribution to queer thought and to the certainty of tv as politics.

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This also 22 The Queer Politics of Television means that genuine queer television could not be discovered in advance but would only emerge through a queer reading. It is only in this particular sense that this book is concerned with ‘queer television’, and therefore to maintain a clear distinction between my approach and that which I eschew, I refer, both in the title and throughout the book, to the queer politics of television. Undoubtedly ‘queer television’ could easily be read differently, in the way that it is already used in the very titles of contemporary television programmes.

And Halperin argues that being out of the closet is no less difficult since many people will refuse to give up that very epistemological privilege and continue to treat you as if they know a secret about you. e. comes to know that David is or might be gay), even though David is not even aware that she knows. Claire witnesses a minor but significant exchange between David and Keith – who has dropped in unexpectedly on the memorial service – as Keith tries to comfort David. As Halperin argues, there is rarely a symmetrical exchange of knowledge or knowing when it comes to the closet.

S. Eliot, Charles Dickens, and others to tie her analysis to canonical literary works (Wilcox 2005: 31). The title of Wilcox’s seminal book on Buffy explicitly poses the question Why Buffy Matters (2005) while it implicitly asks why television matters. Wilcox’s answer lies in showing the literary status of Buffy (and by corollary, of other television shows), by demonstrating, as her subtitle declares, that Buffy is 20 The Queer Politics of Television art. In drawing from this tradition, I insist more on the importance of reading a television show like one might read any other text, and focus significantly less on treating television like a great work of literature.

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