TV Theory: Thoughts on reading for sex and sexuality lecture

Why does sex on TV matter?

• Sex on TV matters as can allow for representation that is more polymorphic, which is important as TV reflects real life which is diverse. 
• For example, in Queer as Folk showing the gay scene in Manchester helps it become less segregated, shown in Russell T. Davies’ newer series as Cucumber is about ‘people who just happen to be gay’ (Lovelock, 2013). 
• Queer as Folk does this with the elements of documentary it utilises such as talking heads and voiceover as well as allowing audience to see characters personal lives, as it makes the audience feel involved in the world, especially important in TV because it goes directly into the home, so can change opinions by causing people to think about what they see and talk about it.
• Also shown in Queer as Folk by vandalism of car and bullying teenagers, as highlights how wrong this is since audience begin to identify with gay characters as protagonists and these others as the antagonists, can bring a debate into the public sphere (people talking at work, controversy about show on news, reviews in newspapers).     

How is this related to ideas around auteur theory?

Auteur theory is director as ‘author’ of film, visuals not plot make the film. 

• I think that in TV auteur theory does not apply as much as it does in film, as Queer as Folk is based on writer/creator Russell T. Davies’ experiences, and he also acts as producer, so oversees entire programme, (similar to American system with show runners acting as producers and overseeing writer’s room). 
• He has determined his own ‘style’ of TV shows by writing mainly about representations of sexuality (Bob and Rose gay man falls in love with a woman, Cucumber, modern gay scene in Manchester).

• However in film, directors are given more control as work with art director and team, scriptwriter to create film, oversee whole film.
• They should be responsible for what happens both in the film and on the set, power could be abused if they force actors into doing things that could harm them.
• Actor could be afraid of losing work or refusal could make actor seem ‘un-hireable’. 
• Director should be responsible for safety of actors, and if actor has concerns so does not want to do something they should not be made to, director should ensure everything is as safe as possible.
• For example, with Quentin Tarantino and Uma Thurman, according to the Hollywood Reporter:

‘Thurman told the Times she didn't feel comfortable operating the car — which she described as a "deathbox" — and asked for a stunt driver to navigate the sandy road, but Tarantino refused in a fury because of the cost’ (Handel, 2018).

• Safety should have been top priority, rather than money.

• This can also happen in TV. Riverdale actor K.J. Apa crashed his car after driving himself but consistently working over 12 hours a day, as some actors think asking for a driver can make them seem too vulnerable and ‘un-hireable’ (Johnson, 2017).  

How does this relate to gender and bias?

• Violence against women constantly used in films to make them seem stronger, damsel in distress stereotype, being the victim, means they lack agency (example is Star Wars episode 3, where character of Padme is victim of violence from Anakin, and is rescued by Obi-Wan Kenobi).
• TV reflecting life could promote idea as right if not also seen as being punished or committed by ‘evil’ character in film world who is unliked, as argued in the Games of Thrones rape debate argument, as it is said that the character of 'Ramsay’s actions are not only predictable but expected. After all, this is a man who has castrated, flayed and hunted other characters with relish' (Proctor, 2015).

• Representation of these acts is good to raise awareness, similar to campaigns such as Time’s Up and #MeToo, but they should be shown to shock, encouraging people to think. This doesn’t necessary have to be overly violent or repetitive to do this, too much representation like this could desensitise instead. These acts should however not be trivialised or glamourised either. 

• Women can have agency and be strong without violence as shown everyday in real life, TV should reflect and celebrate this as well as raise awareness for important issues that affect both men and women of all ethnicities, ages, and sexual orientations. 

References:

Lovelock, M (2015) 'Cucumber as 'post-gay' television' In: cstonline.net 03.04.2003 [online] At:cucumber-as-post-gay-television-by-michael-lovelock (Accessed on 17 March 2018) 

Handel, J (2018) 'Uma Thurman's Kill Bill Crash Sparks Outrage in Stunt Community' In: hollywoodreporter.com 08.02.2018 [online] At: https://www.hollywoodreporter.com/news/uma-thurmans-kill-bill-crash-sparks-outrage-stunt-community-1083035 (Accessed on 17 March 2018)

Johnson, S (2017) 'Riverdale Star in Late-Night Car Crash After Working 16-Hour Day' In: hollywoodreporter.com 21.09.2017 [online] At: https://www.hollywoodreporter.com/live-feed/riverdale-star-late-night-car-crash-working-16-hour-day-1041899  (Accessed on 17 March 2018)

Proctor, W (2015) 'The Game of Thrones Rape Debate' In: cstonline.net 12.06.2015 [online] At: http://cstonline.net/the-game-of-thrones-rape-debate-by-william-proctor/  (Accessed on 17 March 2018)