Abstract
‘You’re about to watch adult content. Discretion is advised.’ This warning, accompanied by an extradiegetic voice-over, preceded several episodes of the final season of Ellen, a sitcom which until that point had been a mainstream international hit. How did one of the most successful American TV series get to the point of needing to overtly ‘warn’ its audience about its content? How did Ellen (DeGeneres) become so degenerated, or rather degenarrated? The recent popularity and growing number of gay and lesbian characters on television has led to the widespread assumption that the love that once dared not speak its name can now finally be narrated and celebrated on screen. However, if one looks at the narrative conventions by which the issue of homosexuality is presented, it becomes evident that this seeming liberation might be only a new strategic disguise for preventing and excluding the subversive potential of gender and sexual confusion, thereby affirming a heteronormative value system. To illustrate this, I will focus on a TV series that was accompanied by an enormous tabloid frenzy and public outcry, first and foremost in its country of origin, the United States.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Preview
Unable to display preview. Download preview PDF.
References
Bal, M. (1985) Narratology. Toronto: University of Toronto Press.
Bordwell, D. (1985) Narration in the Fiction Film. Madison, WI: University of Wisconsin Press.
Brooks, P. (1984) Reading for the Plot. Oxford: Oxford University Press.
Butler, J. (1990) Gender Trouble. New York: Routledge.
——(1991) ‘Imitation and Gender Insubordination’. In D. Fuss (ed.), inside/out: Lesbian Theories, Gay Theories. New York: Routledge, 13–32.
——(1993) Bodies That Matter. New York: Routledge.
DeGeneres, E. (1998) Interview with Larry King. Larry King Live. CNN, 12 May 1998.
De Lauretis, T. (1984) Alice Doesn’t: Feminism, Semiotics, Cinema. London: Palgrave Macmillan.
Derrida, J. (1988) ‘The Purveyor of Truth’. In J. P. Muller and W. J. Richardson (eds), The Purloined Poe: Lacan, Derrida, and Psychoanalytic Reading. Baltimore/ London: Johns Hopkins University Press, 173–213.
Edelmann, L. (1993) Homographesis: Essays in Gay Literature and Cultural Theory. New York: Routledge.
Gore, A. (1997) ‘Interview with The Hollywood Radio and Television Society’. 16 October 1997.
Lotman, J. (1977) The Structure of the Artistic Text. Ann Arbor: University of Michigan Press.
——(1990) Universe of the Mind: A Semiotic Theory of Culture. Bloomington/Indianapolis: Indiana University Press.
Sedgwick, E. K. (1990) Epistemology of the Closet. Berkeley: University of California Press.
Walker, C. (2000) ‘A Funny Business: Producing Situation Comedy’. In E. Voigts-Virchow (ed.), Mediated Drama, Dramatized Media. Trier: Wissenschaftlicher Verlag Trier, 95–100.
Editor information
Editors and Affiliations
Copyright information
© 2005 Dirk Schulz
About this chapter
Cite this chapter
Schulz, D. (2005). Ellen Degenarrated: Breaking the Heteronormative Narrative Contract. In: Allrath, G., Gymnich, M. (eds) Narrative Strategies in Television Series. Palgrave Macmillan, London. https://doi.org/10.1057/9780230501003_9
Download citation
DOI: https://doi.org/10.1057/9780230501003_9
Publisher Name: Palgrave Macmillan, London
Print ISBN: 978-1-349-54505-6
Online ISBN: 978-0-230-50100-3
eBook Packages: Palgrave Social & Cultural Studies CollectionSocial Sciences (R0)