Ajay Kumar: Created a new article

2023-09-07T14:03:09Z

Created a new article

New page

{{Short description|Implicit representation of LGBT characters}}
{{Unreliable sources|date=July 2021}}
'''Queer coding''' is the [[Subtext|subtextual]] [[Code (semiotics)|coding]] of a character in media as [[queer]]. Though such a characters sexual identity may not be explicitly confirmed within their respective work or they may in fact be straight despite their queer mannerisms, a character might be coded as queer through the use of traits and stereotypes recognisable to the audience. Such traits are greatly varied, but traits of exaggerated masculinity and femininity, vanity, and [[hypersexuality]] are frequent.{{Citation needed|date=February 2021}} Queer coding is a concept both in the discussion of [[media portrayal of LGBT people]] and academic research involving [[queer theory]] or [[gender studies]].

==History==

The idea of non-explicit queer coding likely stems from the strict regulations of how queer characters were able to be portrayed in the early days of film-making. In 1930, the [[Hays Code]] was established as a standard for what was allowed to be shown on the big screen.<ref>{{Cite book|jstor = j.ctvfjcx5v.4|chapter = Origins of the Code|last1 = Billheimer|first1 = John|title = Hitchcock and the Censors|year = 2019|pages = 9–23|publisher = University Press of Kentucky| doi=10.2307/j.ctvfjcx5v.4 |isbn = 9780813177427| s2cid=214143884 }}</ref> According to the code, films were not allowed to portray "perverse" subjects such as homosexuality, which inevitably led to the portrayal of non-explicit queer characters. The trend of the inclusivity of queer characters in a subtextual way likely bled into modern portrayals of queer characters. One scholar, Jo Johnson, argued that Jerry in the ''[[Tom & Jerry]]'' cartoons had an androgynous design, even if feminized, and noted a possible [[homoerotic]] subtext between Jerry and Tom, especially when there is [[cross-dressing]].<ref>{{Cite book|title = Queers in American Popular Culture Volume 1: Film and television|last = Johnson|first = Jo|publisher = Praeger|year = 2010|isbn = 9780313354571|location = Santa Barbara, California|chapter-url = https://archive.org/details/queersinamerican0000unse/page/246/mode/2up |access-date = September 23, 2021|editor-last = Elledge|editor-first = Jim|volume = 1|chapter = "We'll Have A Gay Old Time!": Queer Representation in American Prime-Time Television from the Cartoon Short to the Family Sitcom |url-access=registration |url=https://archive.org/details/queersinamerican0000unse/mode/2up |pages=249, 251 }}</ref> Johnson pointed to the 1966 short "[[Jerry-Go-Round]]", by [[Chuck Jones]], as having a coded same-sex relationship between Jerry, who was gendered by Jones as female, and a female elephant who wears a pink tutu. She argued that the episode's ending could be read as a "prophetic depiction of [[Gay pride|Gay Pride]]".<ref>{{Cite book|title = Queers in American Popular Culture Volume 1: Film and television|last = Johnson|first = Jo|publisher = Praeger|year = 2010|isbn = 9780313354571|location = Santa Barbara, California|chapter-url = https://archive.org/details/queersinamerican0000unse/page/246/mode/2up |access-date = September 23, 2021|editor-last = Elledge|editor-first = Jim|volume = 1|chapter = "We'll Have A Gay Old Time!": Queer Representation in American Prime-Time Television from the Cartoon Short to the Family Sitcom |url-access=registration |url=https://archive.org/details/queersinamerican0000unse/mode/2up |pages=256–257 }}</ref> Cade M. Olmstead, an interdisciplinary philosophy scholar, built upon Johnson's work. He argued that ''Tom and Jerry'' "subverts normalized gender and sexuality structures" through theatrical play and performance, transgressing the normal construction of gender.<ref>{{cite web |url=https://scholarworks.uni.edu/cgi/viewcontent.cgi?article=1008&context=ugswork |title=Tom and Jerry: Performative Queerness in Action |last=Olmstead |first=Cade M. |date=2018 |website=Undergraduate Student Work |publisher=[[University of Northern Iowa]] |access-date=September 25, 2021 |archive-url=https://web.archive.org/web/20200318122855/https://scholarworks.uni.edu/cgi/viewcontent.cgi?article=1008&context=ugswork |archive-date=March 18, 2020 |pages=1–8 |url-status=live}}</ref> Despite the queer coding in "Bugs Bunny" and "Tom & Jerry" cartoons, as scholars Deborah A. Fisher, Douglas L. Hill, Joel W. Grube, and Enid L. Gruber noted, before 1970, almost no gay characters were on television, and they remained relatively absent "until the 1990s".<ref>{{cite journal |last1=Fisher |first1=Deborah A. |last2=Hill |first2=Douglas L. |last3=Grube |first3=Joel W. |last4=Gruber |first4=Enid L. |date=2007 |title=Gay, Lesbian, and Bisexual Content on Television: A Quantitative Analysis Across Two Seasons |journal=Journal of Homosexuality |volume=52 |issue=3–4 |pages=167–168 |doi=10.1300/J082v52n03_08 |pmid=17594976 |pmc=2000838 }}</ref> Continuing from the late 1980s, villains in Disney films which were queer coded appeared in this decade.<ref name="insidersnydes">{{cite web|last1=Snyder|first1=Chris|last2=Desiderio|first2=Kyle|url=https://www.insider.com/the-evolution-of-queer-characters-in-kids-animated-tv-shows-2021-6|title=The evolution of queer characters in children's animation|website=[[Insider (website)|Insider]]|date=June 29, 2021|access-date=July 1, 2021|archive-url=https://archive.today/20210701050407/https://www.insider.com/the-evolution-of-queer-characters-in-kids-animated-tv-shows-2021-6|archive-date=July 1, 2021|url-status=live}}</ref> Commentary on the treatment of LGBT+ characters in film is made in the 1995 documentary ''[[The Celluloid Closet (film)|The Celluloid Closet]]'', and is one of the first instances in which the idea of queer coding is presented to the public.<ref>{{Cite book|jstor = 10.3366/j.ctt1bgzbtn.12|doi = |chapter = Youth, Realism and Form|last1 = Pullen|first1 = Christopher|title = Straight Girls and Queer Guys|year = 2016|pages = 147–168|isbn = 9780748694846}}</ref>

''[[Time Squad]]'', which aired from 2001 to 2003 on [[Cartoon Network]], arguably had an LGBTQ character. In 2012, the voice actor of Larry 3000, [[Mark Hamill]], implied that Larry could easily have been interpreted as gay,<ref>{{cite web |title=039 – Mark Hamill on Talkin Toons with Rob Paulsen – Weekly Voice Acting and Voice Over Tips |url=http://techjives.net/2012/05/04/039-mark-hamill-on-talkin-toons-with-rob-paulsen-weekly-voice-acting-and-voice-over-tips/ |website=Tech Jives Network |access-date=18 March 2020 |archive-url=https://web.archive.org/web/20200319040214/http://techjives.net/2012/05/04/039-mark-hamill-on-talkin-toons-with-rob-paulsen-weekly-voice-acting-and-voice-over-tips/ |archive-date=2020-03-19}}</ref> due to his femininity and presentation as the "gay best friend" to Cleopatra in "Shop like an Egyptian", even though Larry has stated on multiple occasions he dislikes humans in general. However, the show never directly stated his sexuality. Even so, Hamill described Larry 3000 as fierce and flamboyant.<ref>{{cite web |last=Hamill |first=Mark |title=Love Unique Deadpan No-Nonsense #Skips but #Larry3000 of #TimeSquad was Fierce-Flamboyant & more Crazy-Fun to play! |url=https://twitter.com/HamillHimself/status/733579727215042560 |website=[[Twitter]] |access-date=March 18, 2020|archive-url=https://archive.today/20200319034956/https://twitter.com/HamillHimself/status/733579727215042560 |archive-date=March 19, 2020}}</ref> In 2019, Klaudia Amenábar, writing for [[The Mary Sue]], argued that Cassandra in ''[[Rapunzel's Tangled Adventure]]'' was a gay coded character who had feelings for the show's protagonist, [[Rapunzel (Tangled)#Rapunzel's Tangled Adventure (2017–2020)|Rapunzel]].<ref>{{cite web |last1=Amenábar |first1=Klaudia |title=Rapunzel's Tangled Adventure Is a Surprisingly Perfect Show for Millennials |url=https://www.themarysue.com/rapunzels-tangled-adventure-millennials/ |website=[[The Mary Sue]] |access-date=September 13, 2020 |archive-url=https://web.archive.org/web/20200411094427/https://www.themarysue.com/rapunzels-tangled-adventure-millennials/ |archive-date=April 11, 2020 |date=March 25, 2019 |url-status=live |df=mdy-all }}</ref>

===Villains===
[[File:Divine-by-origa.jpg|thumb|[[Ursula (The Little Mermaid)|Ursula]]'s character in ''[[The Little Mermaid (1989 film)|The Little Mermaid]]'' was inspired by the [[drag queen]] [[Divine (performer)|Divine]].<ref>{{Cite journal|url = https://books.google.com/books?id=pdCrF4JxKDIC |title = From Mouse to Mermaid: The Politics of Film, Gender, and Culture |journal = Indiana University Press |language = en |year = 1995|isbn = 0253209781 }}</ref>]]
Because of the Hays Code, positive portrayals of homosexual characters were barred, and the only characters in fiction that could be perceived as homosexuals had evil roles and were punished throughout the work.<ref>{{Cite journal|url = https://filmicmag.com/2015/08/01/from-sissies-to-secrecy-the-evolution-of-the-hays-code-queer/ |title = From Sissies to Secrecy: The Evolution of the Hays Code Queer |journal = Filmic Magazine |language = en |date = 1 August 2015}}</ref> Thus, [[villain]]s became noted in particular to have [[Effeminacy|effeminate]] characteristics, behaviors or gestures that could be perceived as [[LGBTI]].<ref>{{Cite journal|url = http://www.periodicos.ulbra.br/index.php/txra/article/view/1181 |title = O vilão desviante: Uma leitura sociocultural pela perspectiva de gênero de Scar em O Rei Leão |journal = Revista de Educação e Letras |language = pt |year = 2014|volume = 16 |issue = 32 |last1 = Santos |first1 = Caynnã de Camargo }}</ref><ref>{{Cite journal|url = https://www.gaymer.es/es/2018/10/villano-afeminado/ |title = La problemática del villano afeminado |journal = Gaymer |language = es |date = 13 October 2018}}</ref> Disney characters have attracted attention because their films are popular among children.<ref>{{Cite journal|url = https://thetempest.co/2020/06/04/entertainment/disney-villains-gay-queer-coding/ |title = Wait a second, are all Disney villains gay? |journal = The Tempest |language = en |date = 4 June 2020}}</ref><ref>{{Cite journal|url = https://www.pride.com/geek/2020/2/05/10-queer-coded-gay-villains-our-childhood |title = 10 Queer-Coded, Gay Villains from Our Childhood |journal = Pride |language = en |date = 5 February 2020}}</ref><ref>{{Cite journal|url = https://elpais.com/babelia/2021-05-28/los-villanos-de-disney-salen-del-armario.html |title = Los villanos de Disney salen del armario |journal = El País |language = es |date = 28 May 2021}}</ref> Examples include:

* Governor Ratcliffe in ''[[Pocahontas (1995 film)|Pocahontas]]'', who is the only male character with makeup, braided hair and bows, and wears pink.
* [[Ursula (The Little Mermaid)|Ursula]] in ''[[The Little Mermaid (1989 film)|The Little Mermaid]]'' was inspired by the [[drag queen]] [[Divine (performer)|Divine]].
* [[Scar (The Lion King)|Scar]] in ''[[The Lion King]]'', who has mannered{{what?|date=August 2023}} gestures.
* [[Captain Hook]] in ''[[Peter Pan (1953 film)|Peter Pan]]''.
* [[Hector Barbossa]] in the [[Pirates of the Caribbean (film series)|Pirates of the Caribbean franchise]].
* The character 'HIM' in ''[[The Powerpuff Girls]]'', who dresses in a [[Tutu (clothing)|tutu]] and heels.
* The [[Cheshire Cat]] in [[Alice in Wonderland (2010 film)|Alice in Wonderland]], as an [[anti-hero]].

==Impact==
Queer coding is similar to [[queerbaiting]], but the queer coding of a character is neutral and intrinsic to the work, unlike queerbaiting, which often invokes queerness in order to draw viewership.{{Citation needed|date=February 2021}} However, queer coding may have a negative impact on perceptions of queerness in media; villains are often queer-coded, leading to the [[pejorative]] perception of queer traits. Critics have noted the [[Walt Disney Company|Walt Disney Company's]] attribution of queer characteristics and behaviors to villainous or antagonistic characters.<ref>{{cite web |last1=Martinez |first1=Ren |title=Fabulously Fiendish: Disney Villains and Queer-Coding |url=http://www.marginsmagazine.com/2015/12/18/fabulously-fiendish-disney-villains-and-queer-coding/ |website=Margins Magazine |archive-url=https://web.archive.org/web/20170312175257/http://www.marginsmagazine.com/2015/12/18/fabulously-fiendish-disney-villains-and-queer-coding/ |archive-date=March 12, 2017 |date=December 18, 2015}}</ref>

[[Gaston (Disney)|Gaston]] and LeFou in the 1991 film ''[[Beauty and the Beast (1991 film)|Beauty and the Beast]]'' and [[List of Disney's Aladdin characters|Jafar]] from the 1992 film ''[[Aladdin (1992 Disney film)|Aladdin]]'' were created by an openly gay animator named [[Andreas Deja]],<ref name="craig2000">{{cite magazine | first=Craig | last=Seymour | title=Yep, They're Gay | url=http://www.ew.com/ew/article/0,,277857_2,00.html | date=6 October 2000 | magazine=[[Entertainment Weekly]]|archive-url=https://web.archive.org/web/20111110135751/http://www.ew.com/ew/article/0,,277857_2,00.html|archive-date=November 10, 2011}}</ref> and sang music by [[Howard Ashman]], who was also openly gay. The fact that Deja had also worked on [[Scar (The Lion King)|Scar]] in ''[[The Lion King]]'' and the titular character in ''[[Hercules (1997 film)|Hercules]]'', for example, has been discussed as an influence on the development of some Disney characters.<ref>{{cite book | first1=Gail | last1=Dines | first2=Jean | last2=McMahon Humez | title=Gender, Race, and Class in Media: A Text-reader | page=[https://archive.org/details/genderraceclassi0000unse/page/209 209] | date=August 2002 | publisher=Sage Publications | isbn=978-0-7619-2261-2 | url=https://archive.org/details/genderraceclassi0000unse/page/209 }}</ref><ref>{{cite book | first=Peter | last=Schweizer | title=The Mouse Betrayed | page=[https://archive.org/details/disneymousebetra00schw/page/148 148] | publisher=Regnery Publishing | date=September 1998 | isbn=0-89526-387-4 | url=https://archive.org/details/disneymousebetra00schw/page/148 }}</ref><ref>{{cite journal | first=Tom | last=Provenzano | title=The Lion in Summer | journal=The Advocate | page=66 | date=28 June 1994}}</ref>

This queer coding had its disadvantages, with networks not wanting to show overt representation. Animator [[Rebecca Sugar]] argued that it is "really heavy" for a kid to only exist "as a villain or a joke" in an animated series.<ref name="insidersnydes" /> In 2011, Deja told [[news.com.au]] Disney would have a "family that has two dads or two mums" if they find the "right kind of story with that kind of concept."<ref>{{cite journal | first=Daniela | last=Elser | title=Gay families in Disney movies only a matter of time, says Lion King animator Andreas Deja | url=http://www.news.com.au/entertainment/movies/mickey-has-two-dads/story-e6frfmvr-1226015944009 | date=March 4, 2011 | journal=[[news.com.au]]|archive-url=https://web.archive.org/web/20110807101046/http://www.news.com.au/entertainment/movies/mickey-has-two-dads/story-e6frfmvr-1226015944009|archive-date=August 7, 2011|url-status=live|access-date=September 27, 2011}}</ref> However, other critics criticized such queer-coded villains as contributing to "homophobic discourse" and equating queerness with evil itself.<ref>{{cite web |last1=Gates |first1=Meggie |title=Once Again, Disney Attempts to Co-opt Pride Month |url=https://www.bitchmedia.org/article/disney-rebrands-pride-no-lgbtq-support |website=[[Bitch (magazine)|Bitch]] |access-date=September 28, 2021 |archive-url=https://web.archive.org/web/20210712054914/https://www.bitchmedia.org/article/disney-rebrands-pride-no-lgbtq-support |archive-date=July 12, 2021 |date=July 18, 2021 |url-status=live |df=mdy-all }}</ref><ref>{{cite web |last1=Weir |first1=John |title=FILM; Gay-Bashing, Villainy and the Oscars |url=https://www.nytimes.com/1992/03/29/movies/film-gay-bashing-villainy-and-the-oscars.html |website=[[New York Times]] |access-date=September 29, 2021 |archive-url=https://web.archive.org/web/20210122220051/https://www.nytimes.com/1992/03/29/movies/film-gay-bashing-villainy-and-the-oscars.html |archive-date=January 22, 2021 |date=March 29, 1992 |url-status=live |df=mdy-all }}</ref> Other critics have claimed that this attribution can lead to a negative association between queerness and immoral, licentious behavior.<ref>{{Cite web|first=Inés|last= Mendoza-Pérez|url=https://controlforever.com/read/queercoding-and-horror-films/|title=Queer-Coding and Horror Films|website=Control Forever|date=October 26, 2018}}</ref><ref>{{Cite web|url=https://www.pride.com/geek/2020/2/05/10-queer-coded-gay-villains-our-childhood|title=10 Queer-Coded, Gay Villains from Our Childhood|date=February 5, 2020|website=www.pride.com}}</ref>

In February 2021, producer [[Ralph Farquhar]] said that in ''[[The Proud Family]]'', which aired on the [[Disney Channel]] from 2001 to 2005, they had to use "code to talk about if Michael was gay, to talk about sexuality" and to be "sort of underhanded about it." He said this changed with ''[[The Proud Family: Louder and Prouder]]'' with the biggest changes to the show are "gender identity, obviously racial identity and quote-unquote wokeness,” and said that sexuality can be "sort of in your face with it a lot more," manifesting itself in the storytelling.<ref>{{cite web|last=Wolfe|first=Jennifer|url=https://www.animationmagazine.net/streaming/the-proud-family-returns-to-screens-louder-prouder-even-more-authentic/|title='The Proud Family' Returns to Screens Louder, Prouder & Even More Authentic!|website=[[Animation Magazine]]|date=February 4, 2022|access-date=February 4, 2022|archive-url=https://web.archive.org/web/20220204183522/https://www.animationmagazine.net/streaming/the-proud-family-returns-to-screens-louder-prouder-even-more-authentic/|archive-date=February 4, 2022|url-status=live}}</ref>

==See also==
*[[Media portrayal of LGBT people]]
*[[He never married]]
*[[Medieval singlewomen]]

== References ==

{{reflist}}

[[Category:Queer-related mass media]]
[[Category:Neologisms]]
[[Category:Queer theory]]
[[Category:Euphemisms]]

Queer coding - Revision history

Ajay Kumar: Created a new article