McGovern 1

The Medias Influence on Public Perception of Homosexuality Michele McGovern Dept. of English - Jacksonville University ENG 304WI - Professor Ed McCourt December 5, 2011

McGovern 2

Escaping the theories, viewpoints, and specifically calculated slants of the media is near impossible for the common American. Our perceptions of an entire demographic are capable of significant influence due to a particular broadcast. The Lesbian, Gay, Bisexual, and Transgender community, LBGT, has been a core group of scrutiny, fear, and confusion within the reports of varied mediums of exposure since the 1950s. The highly convincing nature of the medias influence is deeply rooted as truth within the minds of America. 40% of Americans are said to gain their direct opinion of homosexuals from the images and reports they attain from various outlets (Calzo and Ward). These outlets can range from entertainment based programming such as Emmy or Oscar recognized productions to award winning journalism including publications such as Time, Newsweek, and Life. Regardless of the intent, representations of homosexuals within mass communication are capable of swaying the majority of perceptions. The extent to which homosexual stereotypes and archetypes have evolved is in absolute authority of the media at large. The musical loving, well dressed, high pitched giggling stereotype of the gay man as seen on Will & Grace, is a far cry from societys initial reaction to the emergence of homosexuals in the main stream media. Long before shows like Modern Family, Glee, and True Blood burst into homes across America, scooping up Emmy Awards for their portrays of LGBT characters, homosexuality was deemed a mental illness by the American Psychiatric Association (Peters). By perpetuating the idea that homosexuals were deeply disturbed deviants in need of treatment the media was able to construct a fabricated fear within the minds of America (Horton). This fear is best described as a

McGovern 3 broadcasted moral panic (Potter and Kappeler). Potter and Kappeler, in their book Constructing Crime: Perceptions on Making News and Social Problems, describe moral panics as occurring when a group or type of activity is perceived as a threat to the stability and well-being of society. In order to properly devise a societal moral panic, the media must first exaggerate and in some cases fabricate information regarding the group or activity at hand. The spotlight placed on this particular group then creates an overwhelming amount of scrutiny towards their every move. For example, the emergence of the AIDs epidemic of the 1980s and into the 1990s, allowed Americans to perceive the disease as affecting only members of the LGBT community. This public perception labeled sufferers of this terrible illness as a threat to the safety of society as a whole. Naturally, society is generally wary of any concept or action that makes it uncomfortable or pushes the boundaries of the normally accepted behavior. Although homosexuality had been around as long as sexuality itself, the common conservative American was not accustomed to discussing sexual behavior with their neighbors, friends, or politicians. Through media published reports that linked homosexual behavior to mental illness, the public perception of gays shifted towards a fear of the unknown. This coupled with the mass preaching of several religious sects has shown that a higher disregard for the LGBT community has arisen out of the fear of the free choice model of homosexuality (Blackwell). By selling the idea that being gay is an individual choice, society then pushes back, terrified that anyone is capable of choosing the path of homosexuality. Several critically acclaimed news publications such as Time, Newsweek and Life all published negatively portrayed articles about homosexuals from the 1940s to

McGovern 4 the 1960s. By using sources such as officials from the military, law enforcement, and government, these publications were able to sway their readership to view gay individuals as mentally disturbed. Homosexual individuals rarely received first hand commentary in these articles as they were fearful of releasing their identity due to possible public backlash (Blackwell). In fact, up until 1973 when it was revoked as a mental disorder, gay men and women were believed to have attraction to same sex partners out of dysfunctional parent-child relationships and child abuse, through psychoanalytic thought (Blackwell). Eliminating the idea of the deviant from the impression on the gay community, a new media supported concept emerged that suggested the possibility of a genetic cause for homosexual behavior deemed the gay gene (Horton). By disregarding the choice concept, Time magazine published an article in 1995 entitled Search for the Gay Gene, describing the possibility of a gene called w that was present in male fruit flies with homosexual tendencies (Horton). Considering the credentials of the magazine and the nature of the discoveries, the public perceived this new found gay Gene as an answer to the fear of the choice concept. Regardless of its validity, the reports of the media allowed society to view homosexuals as having been born with a predisposition to this behavior rather than the popular notion of criminals by choice. Characterized in literature and research studies, prior to the discovery of the gene, the media supported the concept that individuals can choose to be gay in extreme settings such as prison systems where a lack of female interaction has proven to insight homosexual behavior between inmates (Blackwell).

McGovern 5 Considering the all-consuming effect the entertainment industry has on society, it would be erroneous to discount entertainment media as having a largely important role in the perception of the LGBT community. In a study conducted on the level of influence the media has over the perception of homosexuals, it was found that socialization is the largest factor in the acceptance of the gay community (Calzo and Ward). Socialization includes exposure to peers, parents, and religion, but more importantly the media. The study was conducted with the presence of 1,761 undergraduate level students. The results of the study indicate that men and women view homosexuality differently based on specific media consumption that is geared towards their demographic. The same can be said for various socio-economic backgrounds. Various media outlets that display the more stereotypical representations of homosexuals are met with a high acceptance rate by males, while female directed programming, such as soap operas and situational comedies are also met with a high acceptance rate (Calzo and Ward). Based on the results, it was discovered that a mainstreaming effect on the media could result in an overall accepted perception of homosexuality. If multiple media outlets were displaying information with similar views on homosexuality, the majority would accept a larger, more similar view. For example, the more men that watched episodes of the television program Will & Grace, the more accepting they were of homosexuals (Calzo & Ward). In the 1995 documentary film, The Celluloid Closet, film depictions of homosexuals are explored from the initial silent films through the 1990s. Hollywoods influence on American culture has only grown with the progression of its popularity. As narrated in the film Hollywood, that great maker of myths, taught straight people what to think about gay people and gay people what to think about themselves. No one escaped

McGovern 6 its influence (Epstein and Freidman). Spotted with various personal tales of film experiences and historical truths, several well-respected actors, directors, and writers, gay and straight, including Whoopi Goldberg, Tom Hanks, Shirley MacLaine, Tony Curtis, and Gore Vidal appear throughout. The appearance of gay stock characters in popular cinema dates back to the hay days of Charlie Chaplin. The public has been taught to perceive gay individuals through the representations they see in popular films. Gay behavior through this medium has taught American audiences to view these characters as individuals to either laugh at or fear (Epstein and Freidman). Although many moviegoers arent intuitively aware of gay characters, these fictional creations have appeared in several cult celebrated and award winning films. Marlene Dietrich in Morocco, Tony Curtis and Jack Lemmon in Some Like it Hot, Peter Laurie in the Maltese Falcon, and Lauren Bacall in Man with a Horn are just a select few of several Hollywood Icons who have portrayed either homosexual characters or characters who embrace homosexual behavior. Though these Hollywood heavy weights appeared in these films, the sexuality of their characters rested below the surface; never were they out rightly mentioned as being homosexual. Audiences, both gay and straight, had to interpret from discreet mentions of close relationships with other characters or suggestive looks that they harbored any of these gay tendencies. This displayed to all audiences that even Hollywood was too nervous to represent the plight of these individuals to the masses. Although these cultural influences have opened the doors for gay representation in Hollywood, the messages they promote educate audiences to shy away from these stereotypes as they can either be taken as flamboyant clowns or tragic figures. Shirley MacLaine in The Childrens Hour and Tom Hanks in Philadelphia are

McGovern 7 examples of the consequences of a homosexual lifestyle. Both characters meet tragic ends when the Childrens Hours Martha ends her life over accusations and the realization of her homosexuality and Philadelphias Andrew eventually succumbs to AIDS. Buffalo Bill in Silence of the Lambs is another instance in which confusion over his sexuality and fear of his actions caused audiences to become fearful of just what a homosexual character is capable of achieving. Buffalo Bill was not only seen as a deeply disturbed serial murderer but more so as a representation of what the evils of a homosexual mind can create (Epstein and Freidman). Audiences learned to fear this behavior as well as enjoyed instances of ridicule at the expense of stereotypical characters. By creating characters that can insight laughter at their own expense, audiences are able to shy away from accepting LGBT characters as real human beings (Epstein and Freidman). The stereotype of the feminine sissy has left room for inclusion into the mass media as they are neither sexual nor masculine, as men feel more manly around them and women more womanly (Epstein and Freidman). Films like The Birdcage, Mrs. Doubtfire, and Hairspray created a place for gay characters to adhere to this archetype and realize a higher rate of acceptance among the majority of audiences. Although they are able to find a place within popular cinema, their representations allow for audiences to believe that all gay individuals partake in the exaggerated behavior they see on the film (Epstein and Freidman). A new generation of gay characters has emerged, celebrated by both audiences and characters alike, due in part by the emergence of realistic and accurate portrayals. But, when even Hollywood neglects to acknowledge these portrays of LGBT individuals, the mass media takes notice. This in return directly reflects on the level of acceptance

McGovern 8 within society for homosexual characters and their stories. The film adaptation of Annie Proulxs Brokeback Mountain stunned audiences for its portrayal of love, loss, and societal acceptance for its two homosexual male characters. During the 2006 Academy Awards, the winner of the Best Picture went to the racy, racially driven film Crash over the critically acclaimed tale of two gay cowboys in Brokeback Mountain (Ebert). Famed film critic Roger Ebert commented on the surprising results in a publication in the Chicago Sun-Times stating Crash was better than Brokeback Mountain although they were both among the best films of the year. That is a matter of opinion. But I was not "discomfited" by Brokeback Mountain. I chose Crash as the best film of the year not because it promoted one agenda and not another, but because it was a better film. Several Brokeback Mountain supporters felt as though the Academy purposefully shunned the film due to its controversial nature and deemed voters as holding homophobic tendencies. The voting pool of the Academy consists of actors, directors and writers alike, artists who typically support the plight of the LGBT community and in many cases may be belong to the community. Ebert quotes another critic, Ken Turan of the Los Angeles Times, as believing Academy voters to be too nervous to vote for such a subject matter, They could vote for it (Crash) in good conscience, vote for it and feel they had made a progressive move, vote for it and not feel that there was any stain on their liberal credentials for shunning what 'Brokeback' had to offer. And that's exactly what they did (Ebert). Witnessing the uproar over the selection of the Best Picture created an opportunity for the public to view Brokeback Mountain in the same nature critics believed the voters to perceive it, as a highly controversial subject (Ebert). The film itself

McGovern 9 was about two hard working, blue-collar individuals who engage in a turbulent romance over the course of several decades. Struggling to embrace their true nature and facing the violent consequences of the region in which they live, one of the men is eventually believed to be the victim of a hate crime while the other continues to deny his feelings of passion up until the films conclusion (Ebert). If the Academy of Motion Picture Sciences cannot embrace such a subject, an organization of the highest regard in cinema, how is the public capable of perceiving a film about homosexuals in a positive light? The speed bump of the 2006 Oscars did not forever stain the public perception of homosexuals in the entertainment industry as seen in the most recent evaluations of popular television programming. In an article on ABC News.com, GLADD, The Gay & Lesbian Alliance Against Defamation, announced their excitement for programs such as Modern Family, Glee, and True Blood for their investment in developing LGBT characters (Marikar). Although the percentage of homosexual characters on primetime television is down from 3.9 percent to 2.9 percent for the 2011-2012 season, GLAAD remains pleased for the positive effects these characters have had on the public opinion of gay individuals (Marikar). Not only are these programs in the acclaim of GLAAD but they have also experienced praise from audiences and award ceremonies. All three of the above mentioned shows have received Emmy Awards for the presentation of these characters. GLAAD specifically praises the representations of gay characters on Modern Family and Happy Endings. The committed couple of Mitchell and Cameron on Modern Family are praised for serving as an example of a successful gay relationship that strives by expanding through adoption. Happy Endings has also grabbed the attention of GLAAD and viewers by featuring a gay man whose penchant for football and beer flies

McGovern 10 in the face of stereotypes (Marikar). By presenting these characters to the public, the media has created a demand for realistic interpretations of homosexuals. GLAADs senior director of programs, Herndon Graddick, believes that The American public is hungry for diverse characters. They want TV to be reflective of their experience in life (Marikar). The progression of the media in accepting the LGBT community has led to great advancements in public perception since its roots mental illness. Though these developments have been in favor of a positive homosexual perception, the Gay Rights Movement itself still lacks a prominent public figure. Several oppressed groups throughout history have possessed leaders in the public forum from Martin Luther King to Gloria Steinem (Peters). In article published in the New York Times author Jeremy Peters explores possible reasons to the lack of a media figure. Considering the struggles of homosexuals for public acceptance is rooted in a freedom of sexual affiliation, it remains difficult for the majority of Americans to sympathize with the plight of the gay community (Peters). If a media figure were to emerge on behalf of the community, they would be subjected to a higher level of scrutiny as the public will not only have to view them in a political forum but also as a sexual individual. This would creative a much more ambitious struggle to gain public respect as previous movement figures have maintained (Peters). Dudley Clendinen, a professor at Johns Hopkins University and the author of Out for Good: The Struggle to Build a Gay Rights Movement in America believes the media and public sympathy is more difficult to attain Because this movement is fundamentally about the right to be sexual, its hard for the larger public to see that as a moral issue (Peters).

McGovern 11 Another possible roadblock in the search for a media figure is said to come from the focus placed on the efforts to fight against AIDS in the 1980s and into the early 1990s (Peters). Placing the bulk of their efforts in shifting the media and public perception of AIDS as a homosexual disease, the search for a public face was overshadowed. The same occurred throughout the 2000s as the plight of gay activists honed in on discrimination laws and equality. The most probable explanation for the lack of a singular figure is the communitys hope that avoiding such a leader could prevent the media or the public as interpreting the entirety of the gay community through one individual. Pulitzer Prize winning historian David J. Garrow believes the lack of a figurehead is due to the idea that its better not to have a concentration or too much attention overinvested in one individual The speed and breadth of change has been just breathtaking. But its happened without a Martin Luther King (Peters). As the homosexual character emerges as both a figure of realistic and exaggerated portrays, the publics viewpoint continues to be directly effected by media presentations. The influence of mass communication is all consuming, flooding the opinions of society with images carrying both positive and negative connotations. While true to life representations of homosexuals are more prominent in popular media outlets, the stereotypical notions of the group maintain a constant presence. The outreaching capability of the media and the influence it maintains over the public has proven to shift the perception of homosexuals from disturbed deviants to celebrated members of society through popular broadcasted outlets. Whether portrayed as a flamboyant, prancing, feminine male or an average, blue-collared working individual, the public will continue to gain knowledge and understanding of the homosexual community through media

McGovern 12 exposure. It is the very slant of mass communication that determines our comprehensive awareness of LGBT community and how our society will react to social changes within our communities.

Works Cited Blackwell, Christopher W. Nursing Implications in the Application of Conversion Therapies on Gay, Lesbian, Bisexual, and Transgender Clients. Issues in Mental Health Nursing. 29. (2008): 651-665.

McGovern 13 Calzo, Jerel P. & Ward, Monique L. Media Exposure and Viewers Attitudes Toward Homosexuality: Evidence for the Mainstreaming or Resonance?. Journal of Broadcasting & Electronic Media. (2009): 280-299. Ebert, Roger. The fury of the Crash-lash. Chicago Sun-Times. 6 Mar. 2006. Web. www.rogerebert.suntimes.com Horton, Richard. A gay Gene? Is Homosexuality Inherited?. Assault on Gay America. Frontline PBS. Jul. 1995. Web. www.pbs.org. Marikar, Shelia. GLADD Sees Decline in Number of Gay Characters on TV. Abcnews.com. 28 Sep. 2011. Web. Abcnews.com Peters, Jeremy W. Why the Gay Rights Movement Has No National Leader. The New York Times. 20 Jun. 2009. Web. nytimes.com Potter, Gary W. & Kappeler, Victor E. Constructing Crime: Perspectives on Making News and Social Problems. Long Grove, IL: Waveland Press, Inc. 2006. Print.

The Celluloid Closet. Dir. Rob Epstein & Jeffrey Friedman. Perf. Lily Tomlin, Tony Curtis, Susie Bright. Sony Pictures Classics. 1995. DVD. Weber, Scott. Parenting, Family Life, and Well-being Among Sexual Minorities:

McGovern 14 Nursing Policy and Practice. Issues in Mental Health Nursing. 29. (2008): 601-618.