Bonnie Dow, ‘Ellen, Television, and the Politics of Gay and Lesbian Visibility’ Critical
Studies in Media Communication 18 (2001) 2, 123-140.
Rebecca Beirne, ‘Representing Lesbians in Film and Television’ The Routledge
Companion to Media, Sex and Sexuality. Ed. Clarissa Smith and Feona Attwood with
Brian McNair. London and New York: Routledge, 2018. 38-48.
Katerina Symes, ‘Orange is the New Black: The Popularization of Lesbian Sexuality and
Heterosexual Modes of Viewing’ Feminist Media Studies 17 (2017) 1, 29-41.
Answer the following questions:500 words
Bonnie Dow’s analyses critique of the way in which lesbian lives are represented
on television implies a right/desiravle way of representing these lives. How
should they be represented according to Dow?
Which assumption about lesbians and sex shapes representations of lesbian
sexuality in film anf TV according to Rebecca Beirne. What is the effect of this
assumption on these representations?
On what reinterpretation of theories of interpellation does Katerina Symes
argument that Orange is the New Black challenges heteronormativity rest?
Ara Osterweil, ‘Ang Lee’s Lonesome Cowboys’ Film Quarterly 60 (2007) 3, 38-42.
Daniel Mendelsohn, ‘An Affair to Remember’ The New York Review of Books 53 (2006) 3
[ 5 pp].
D.A. Miller, ‘On the Universality of Brokeback Mountain’ Film Quarterly 60 (2007) 3, 50-
Michael Cobb, ‘God Hates Cowboys (Kind Of)’ GLQ: A Journal of Lesbian and Gay
Studies, 13 (2006) 1, 102-104.
Which stereotypical element limits Brokeback Mountain’s ability to be truly
innovative according to Ara Osterweil? Why is this the case?
Which stereotypical element in Brokeback Mountain’s representation of
homosexuality plays into the hands of Christian critics of homosexuality
according to Michael Cobb Why is this the case?
Both D.A. Miller and Daniel Mendelsohn write critically about the reception of
Brokeback Mountain as a universal rather than a gay drama. Point out an
important difference between their respective critical views.