Transgender and transsexual people’s sexuality in the media

Espineira, Karine

doi:10.1080/13534645.2016.1201922

Cited by 6 publications

(4 citation statements)

References 4 publications

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“…In line with previous research, media deployed a rigid view of gender, comparing and incorporating trans expressions into binary gender norms (Baptista and Himmel 2016;Espineira 2016;Glover 2016;Sloop 2000). While there are trans people who identify either as "man" or "woman", the point here should not be to assign trans people a true gender (Squires and Brouwer 2002).…”

Section: Discussionmentioning

confidence: 59%

“…Where trans expressions are a means of necessity, without outspoken link to personal identity, Ryan (2009) argues that the person becomes less exposed to stigmatisation. Also, trans people who appear to be embracing the binary gender norms, adhering to the "good transsexual" narrative are represented more favourably (Skidmore 2011, 205; see also Espineira 2016;Glover 2016;Mackie 2008).…”

Section: Representations Of Trans People In the Mediamentioning

confidence: 99%

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Representations of Trans People in Swedish Newspapers

Åkerlund

2018

Journalism Studies

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This article analyses the discursive representations of trans people in 15,901 mainstream Swedish newspaper articles between 2000 and 2017 using topic modelling and critical discourse analysis. Drawing from critical perspectives on gender it was found that the articles to various degree assisted in maintaining heteronormativity. The discursive strategies employed by the journalists included trivialisation of trans expressions as dress-up and incorporation of them within binary stereotypes. Trans people were also excluded and deemed as deviant in some articles through insensitive gender descriptions and descriptions. Through the voices of experts, trans people were silenced and pathologized and while some representations of trans people were meant to empower, and offered a slightly less rigid view on gender, these articles too reinforced heteronormativity through continuous referral to binary gender.

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Section: Discussionmentioning

confidence: 59%

Section: Representations Of Trans People In the Mediamentioning

confidence: 99%

Representations of Trans People in Swedish Newspapers

Åkerlund

2018

Journalism Studies

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“…Yet, trans* studies have prioritised narratology over more audiovisual-centred concerns (Keegan 2020, 387). After what we could consider the seminal text of trans* studies by Susan Stryker, "My Words to Victor Frankenstein above the Village of Chamounix: Performing Transgender Rage" (1994), and without trying to be exhaustive and in strict chronological order, the following works have inestimably contributed to the analysis of the representation of transness in audiovisual media: Julia ; Karine Espineira (2015Espineira ( , 2016aEspineira ( , 2016b; Amy Villarejo (2016); Jamie C. ; Ralp Poole (2017); Eric Stanley and Johanna Burton (2017); Mariecke Van den Berg and Marinus Mir (2017); Looi van Kessel, Liesbeth Minaard and Eliza Steinbock (2017); Cáel M. Keegan, Laura Horak and Eliza Steinbock (2018); Jack Halberstam (2018); Michael N. Goddard and Christopher Hogg (2019); Eliza ; Anson Koch-Rein, Elahe Haschemi Yekani and Jasper J. Verlinden (eds.) (2020); the last issue of Transgender Studies Quarterly (TSQ) on Trans Pornography (Stryker 2020); and Karine Espineira (forthcoming, 2021).…”

Section: Forewordmentioning

confidence: 99%

Trans* Time

2022

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Trans*Sichtbarkeit hat in den letzten Jahren einen Höhepunkt erreicht, so auch in TV- und Streaming-Serien. Sie geht mit Prozessen sozialer Popularisierung und akademischer Legitimierung einher. Inwiefern bildet die fiktionale Darstellung von trans*Personen ihre vielfältige Wirklichkeit ab, die von selbstbestimmten Lebensentwürfen ebenso wie von Diskriminierung und Gewalt geprägt ist? Wenn es stimmt, dass Serien Gesellschaft- und Identifikationsmodelle hervorbringen, welche Chancen und Gefahren sind dann mit ihrer Verbreitung verbunden? Die Autor_innen gehen diesen Frage anhand von ausgewählten europäischen Serien nach. creativecommons.org/licenses/by-nc-nd/4.0/

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“…Yet, trans* studies have prioritised narratology over more audiovisual-centred concerns (Keegan 2020, 387). After what we could consider the seminal text of trans* studies by Susan Stryker, "My Words to Victor Frankenstein above the Village of Chamounix: Performing Transgender Rage" (1994), and without trying to be exhaustive and in strict chronological order, the following works have inestimably contributed to the analysis of the representation of transness in audiovisual media: Julia ; Karine Espineira (2015Espineira ( , 2016aEspineira ( , 2016b; Amy Villarejo (2016); Jamie C. ; Ralp ; Eric Stanley and Johanna Burton (2017); Mariecke Van den Berg and Marinus Mir (2017); Looi van Kessel, Liesbeth Minaard and Eliza Steinbock (2017); Cáel M. Keegan, Laura Horak and Eliza Steinbock (2018); Jack Halberstam (2018); Michael N. Goddard and Christopher Hogg (2019); Eliza ; Anson Koch-Rein, Elahe Haschemi Yekani and Jasper J. Verlinden (eds.) (2020); the last issue of Transgender Studies Quarterly (TSQ) on Trans Pornography (Stryker 2020); and Karine Espineira (forthcoming, 2021).…”

Section: Forewordmentioning

confidence: 99%

Trans* time: Projecting transness in European (TV) series

Koch-Rein¹

2021

Tijdschrift Voor Genderstudies

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Trans* is used in this edited volume as an umbrella term including a whole spectrum of identity-generating and/or contingent expressions of gender variability, gender embodiment and non-standard gender identities. The term is also employed for self-designations and life plans in various geopolitical and historical contexts from a decolonial perspective. The asterisk evokes the language of informatics, by which the addition of an asterisk (*) after the entering of a word on a server gives the user access to all entries found that contain said word accompanied by others complementing them (Gómez Beltrán 2018, 425). From this standpoint, Trans* Time: Projecting Transness in European (TV) Series explores multiple and complementary understandings of being trans* and reveals the way trans* people are depicted in European televisual and digital streaming series in France, Great Britain, Italy, Portugal, Spain and the Netherlands. Trans* visibility has reached a peak in recent years, so much so that we can state that we are living in trans* times at present. This peak is especially noticeable in the media, and most specifically in television series, where we are also witnessing a prime time for trans* representations, and hence a trans* time in series. Sophia Burset in Orange is the New Black (Kohan et al./Netflix 2013-2019) or Maura, the protagonist of the series Transparent (Soloway et al./Amazon 2014-2019,) are maybe two of the most internationally well-known examples of this media surge.This visibility is not completely new and does not come from a vacuum. 1 Christine Jorgensen's 'transition' in 1953 favoured the mediatisation of transness in mass media, but did not reach television, since the "topic was considered too risquée for family-oriented entertainment"

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Transgender and transsexual people’s sexuality in the media

Cited by 6 publications

References 4 publications

Representations of Trans People in Swedish Newspapers

Representations of Trans People in Swedish Newspapers

Trans* Time

Trans* time: Projecting transness in European (TV) series

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