Gay Identity, New Storytelling and the Media by Christopher Pullen (auth.)

By Christopher Pullen (auth.)

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Also included within this list is information on Lawrence King (discussed below). A political tone is set, which melds emotive contemporary pop music with optimistic images of LGBT people, contextualised with descriptive and statistical details. This presents a collage of ideas, showcasing a call to action. In the manner of a postmodern narrative construction (as discussed in Chapter 3), democratising juxtapositions are made, blending narratives of sexual liberty, criminal action, popular emotion and political awareness.

However, I suggest that this offers a point of reference for the creation of new stories, extending from the self. The individual creates a relationship with the persona and discourse of the star, and through this audiences are able to examine aspects of their own personal life, and relate these to diverse features from the projection of the public figure. Richard Dyer (2001 [originally 1998]), relating the work of Andrew Tudor (1974), identifies four categories that can emerge in the relationship between public figures and audiences: emotional affinity.

I don’t think that I am different from anybody else, I just happen to be in love with a man instead of a woman. . I think it’s a great love. Something far deeper than anybody could ever realise. Although the programme focuses its concern on the condition of homosexuality (in terms which might be related to the suffering of an illness) at a time when male homosexual behaviour was still illegal,7 at the same time the candid interviews display strong evidence of transgression and revolution. This challenges not only the possible audience perceptions of male homosexuals, but also indicates the failing of a dominant majority to understand and accept social diversity.

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