ONLY MEN ARE COPS: public order, heteronormated violence and their reflexes in The Wire
DOI:
https://doi.org/10.20873/uft.2447-4266.2018v4n2p49Keywords:
gênero, quadros, série de televisão, masculinidade, The WireAbstract
The paper offers a framework analysis applied to the media, with the aim of presenting the central frames on which women's police work is imagined. To do this, Shakima Greggs, a detective and star of the quality serial TV The Wire, is used as the subject of study. The study concludes that the character reflects a social imaginary rooted outside of fiction, that forces female police officers to "behave like men" to be respected, and that links homosexuality to a generic investment.
KEYWORDS: gender; framing; quality serial TV; The Wire; masculinit
Downloads
References
ÁLVAREZ, R. The Wire: Toda la verdad. Barcelona: Principal de los libros, 2013.
AGUILERA CARRASCO, P. El cine, una representación patriarcal del mundo. In: PLAZA, J,F.; DELGADO, C. (Ed.). Género y comunicación. Madrid: Fundamentos, 2007.
ATCHO, A. Wired for Destruction? Understanding the Implications of Michael Lee’s Degeneration, American Individualism, and the Institution of the Hood in HBO’S “The Wire. In: PÉREZ GÓMEZ, M. A. (Coord.). Previously on: estudios interdisciplinarios sobre la ficción televisiva en la Tercera Edad de Oro de la Televisión.Sevilla: Biblioteca de la Facultad de Comunicación de la Universidad de Sevilla, 2011.
ATKINSON, R.; BEER, D. The ivorine tower in the city: Engaging urban studies after The Wire. City: Analysis of urban trends, culture, theory, policy, action, 14(5), 529-544, 2010.
BACQUÉ, M. H.;FLAMAND, A.. The Wire as seen from France. City: Analysis of urban trends, culture, theory, policy, action, 1-18, 2017.
BAISLEY, E. Framing the Ghanaian LGBT rights debate: competing decolonisation and human rights frames. Canadian Journal of African Studies/Revue canadienne des études africaines, 49(2), 383-402, 2015.
BENHABID, S.;CORNELL, D. Teoría Feminista y Teoría Crítica. Valencia: Alfons el Magnánim., 1990.
BENHABIB, S. El ser y el otro en la ética contemporánea. Madrid: Gedisa, 2006.
BIGNELL, J. Seeing and knowing: Reflexivity and quality. In: MCCABE, J.;AKASS, K. (Eds.). Quality TV: Contemporary American Television and Beyond. New York: IB Taurus, 2007.
BOURDIEU, P. La dominación masculina. Barcelona: Anagrama, 2007.
BRUNSDON, C. Bingeing on box sets: The national and the digital in television crime drama. In: GRIPSRUD, J. (Ed.). Relocating television: Television in the digital context. London: Routledge, 2010.
BUCKLAND, W. Introduction: Puzzle plots. In: Buckland, W. (Ed.). Puzzle films: Complex storytelling in contemporary cinema. Malden: Wiley Blackwell, 2009.
CASCAJOSA VIRINO, C. C. No es televisión, es HBO: La búsqueda de la diferencia como indicador de calidad en los dramas del canal HBO. Zer, 21, 23-33, 2006.
CHIKAFA-CHIPIRO, R. Discoursing women, Christianity and security: The framing of women in the Gumbura case in Zimbabwean media. Agenda: Empowering women for gender equality, 30(3), 60-69, 2016.
CLARK, J. S. Postfeminist masculinity and the complex politics of time: contemporary quality television imagines a prefeminist world. New Review of Film and Television Studies, 12(4), 445-462, 2014.
CLARKE, M. J. Transmedia Television: New trends in network serial production. New York: Bloomsbury, 2013.
DECLUE, J. Lesbian Cop, Queer Killer: Leveraging Black Queer Women’s Sexuality on HBO’s The Wire. Spectator. Race, Sexuality and Television, 31, 53-62, 2011.
ENTMAN, R.. Framing: Toward a clarification of a fractured paradigm. Journal of Communication, 43(4), 51-58, 1993.
HAYNES, J. Race on The Wire: a metacritical account. Journal for Cultural Research, 20(2), 157-170, 2016.
FONTENLA, M. ¿Qué es el patriarcado? In: S. GAMBA, S. (Ed.). Diccionario de estudios de género y feminismos. Buenos Aires: Biblos, 2008.
FRASER, N. (1997). Iustitia Interrupta: Reflexiones críticas desde la posición "postsocialista". Bogotá: Siglo del Hombre, 1997.
GARCÍA MARTÍNEZ, A. N. El fenómeno de la serialidad en la tercera edad de oro de la televisión. In: FUSTER, E. (Coord.). La figura del padre nella serialitá televisiva. Roma: Pontificia Universitá della Santa Croce, 2014.
GOFFMAN, E. Frame Analysis: An Essay on the Organization of Experience. Harvard: Harvard University Press, 1994.
GONZÁLEZ-FIERRO SANTOS, F. J. La opresión y la representación de la mujer vista por la historia del cine. Granada: Cacitel, 2011.
GRAMSCI, A. Cuadernos de la cárcel. México DF: Era, 1999.
HABERMAS, J.. Historia y crítica de la opinión pública. La transformación estructural de la vida pública. Barcelona: Gustavo Gili, 1994.
HARTOG, D. N. D; VERBURG, R. M. Charisma and rhetoric: Communicative techniques of international business leaders. The Leadership Quarterly, 8, 355–391, 1997.
JENKINS, H.. Convergence culture: Where old and new media collide. New York: New York University Press, 2008.
JOHNSON, C. Quality/Cult Television: The X-Files and Television History. En M. HAMMOND, M.; MAZDON, L. (Coords.). The Contemporary Television Series (pp. 57–71). Edinburgh: Edinburgh University Press, 2005.
JOHNSON, K. M. Single, straight, wants kids: media framing of single, heterosexual fatherhood via assisted reproduction. Journal of Gender Studies, 1-15, 2015.
KLARER, M.. Putting television ‘aside’: novel narration in House of Cards. New Review of Film and Television Studies, 12(2), 203-220, 2014.
LASIERRA Pinto, I. Nuevos caminos en las estrategias narrativas de una serie dramática de televisión: The Wire (HBO, 2002-2008). Comunicación: Revista Internacional de Comunicación Audiovisual, Publicidad y Estudios Culturales, 10, 150-163, 2012.
LAVIE-DINUR, A.; Karniel, Y.; Azran, T. ‘Bad girls’: the use of gendered media frames in the Israeli media's coverage of Israeli female political criminals. Journal of Gender Studies, 24(3), 326-346, 2015.
MARTIN, B. Difficult men. From The Sopranos and The Wire to Mad Men and Breaking Bad: Behind the scenes of a creative revolution. London: Faber and Faber, 2013.
MATTSON, C. E.. From Wimsey to The Wire: Distracting Discourse and Attentional Practice. Quarterly Journal of Speech, 100(1), 31-52, 2014.
MCCABE, J. ;AKASS, K. Quality TV: Contemporary American Television and Beyond. New York: IB Taurus, 2007.
MITTELL, J. Narrative Complexity in Contemporary American Television. The Velvet Light Trap, 58(1), 29-40, 2006.
_______. Television and American culture. New York: Oxford University Press, 2000.
NEWMAN, M. Z.; LEVINE, E. Legitimating television: Media convergence and cultural status. New York: Routledge, 2012.
NILSSON, J. Toward a New Conceptualization of The Wire as a Media Object.. Journal of Aesthetics Culture, 5(1), 2013.
PAINTER, C. (2017). All in the game: Communitarianism in The Wire. Journalism Studies, 18(1), 11-27, 2017.
PARKER, S. From soft eyes to street lives: The Wire and jargons of authenticity. City. Analysis of urban trends, culture, theory, policy, action, 14(5), 545-557, 2010.
PATEMAN, C. El contrato sexual. México: Anthropos, 2008.
REVERTER BAÑÓN, S. La perspectiva de género en la Filosofía. Feminismo/s, 1, 33-50, 2003.
RWAFA, J. Media and development: The politics of framing gender struggles in the postcolonial zimbabwean shona films. Journal of literary studies, 27(3), 39-55, 2011.
RODRÍGUEZ WANGÜEMERT, C.; MATUD AZNAR, P.; ESPINOSA, I. (2008). Roles de género en la prensa diaria nacional. Estudios sobre el mensaje periodístico, 14, 575-580, 2008.
SABIN, R. (2011). The Wire: Dramatising the crisis of journalism. Journalism Studies, 12(2), 139-155, 2011.
SANTO, A.. Para-television and discourses of distinction: The culture of production at HBO. En M. LEVERETTE, B. L. OTT; C. L. BUCKLEY (Eds.). It’s not TV: Watching HBO in the post-television era (pp. 19–45). London: Routledge., 2008.
SCHAUB, J. C. The Wire: Big Brother Is Not Watching You in Body-more, Murdaland. Journal of Popular Film and Television, 38(3), 122-132, 2010.
SCHLÜTZ, D. M. Contemporary Quality TV: The Entertainment Experience of Complex Serial Narratives. Annals of the International Communication Association, 40(1), 95-124, 2015.
SHEEHAN, H.; SWEENEY, S. The Wire and the World: narrative and metanarrative. Jump Cut: A Review of Contemporary Media, 51, 2009.
SISCO, T.; LUCAS, J. ‘Flawed Vessels’: Media framing of feminism in the 2008 presidential election. Feminist Media Studies, 15(3), 492-507, 2015.
SOLDANO, T. M. All the Pieces Matter: A Critical Analysis of HBO’s “The Wire”. New Jersey: ProQuest, 2008.
TANKARD, J. W. The empirical approach to the study of media framing. In: REESE, S.; GANDY, O.; GRANT, A. (Eds.). Framing public life. Perspectives on media and our understanding of the social world. New Jersey: Lawrence Erlbaum Associates, 2001.
TARÍN SANZ, A. La masculinidad como propaganda de autodefensa estatal en la sociedad patriarcal. Pangea, 4, 149-160, 2013.
TORTEROLA, E.; LOBO, A. L.. El cine en la cultura digital: reconfiguración del séptimo arte. Telos 93, 34-45, 2012.
VALCÁRCEL, A.. La política de las mujeres. Madrid: Cátedra, 2004.
WORTHINGTON, N. Gender discourse and ubuntu media philosophy: News framing of rape in Sowetan Online. Journalism Studies, 12(5), 608-623, 2011.
WRIGHT, K. A. M.; HOLLAND, J. Leadership and the media: Gendered framings of Julia Gillard's ‘sexism and misogyny’ speech. Australian Journal of Political Science, 49(3), 2014.
ZHANG, L.; MIN, Y. Effects of entertainment media framing on support for gay rights in China: Mechanisms of attribution and value framing. Asian Journal of Communication, 23(3), 248-267, 2013.
Downloads
Published
How to Cite
Issue
Section
License
[PT] Autores que publicam nesta revista concordam com os seguintes termos:
1. Autores mantém os direitos autorais e concedem à revista, sem pagamento, o direito de primeira publicação, com o trabalho simultaneamente licenciado sob a Creative Commons Attribution License (CC BY-NC 4.0), permitindo o compartilhamento do trabalho com reconhecimento da autoria do trabalho e publicação inicial nesta revista.
Leia todos os termos dos direitos autorais aqui.