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The Media’s Influence on Public Perception of Homosexuality
Michele McGovern
Dept. of English - Jacksonville University
ENG 304WI - Professor Ed McCourt
December 5, 2011
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Escaping the theories, viewpoints, and specifically calculated slants of the media
is near impossible for the common American. Our perceptions of an entire demographic
are capable of significant influence due to a particular broadcast. The Lesbian, Gay,
Bisexual, and Transgender community, LBGT, has been a core group of scrutiny, fear,
and confusion within the reports of varied mediums of exposure since the 1950s. The
highly convincing nature of the media’s influence is deeply rooted as truth within the
minds of America. 40% of Americans are said to gain their direct opinion of
homosexuals from the images and reports they attain from various outlets (Calzo and
Ward). These outlets can range from entertainment based programming such as Emmy or
Oscar recognized productions to award winning journalism including publications such
as Time, Newsweek, and Life. Regardless of the intent, representations of homosexuals
within mass communication are capable of swaying the majority of perceptions. The
extent to which homosexual stereotypes and archetypes have evolved is in absolute
authority of the media at large.
The musical loving, well dressed, high pitched giggling stereotype of the gay man
as seen on Will & Grace, is a far cry from society’s initial reaction to the emergence of
homosexuals in the main stream media. Long before shows like Modern Family, Glee,
and True Blood burst into homes across America, scooping up Emmy Awards for their
portrays of LGBT characters, homosexuality was deemed a mental illness by the
American Psychiatric Association (Peters). By perpetuating the idea that homosexuals
were “deeply disturbed deviants in need of treatment” the media was able to construct a
fabricated fear within the minds of America (Horton). This fear is best described as a
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broadcasted “moral panic” (Potter and Kappeler). Potter and Kappeler, in their book
Constructing Crime: Perceptions on Making News and Social Problems, describe moral
panics as occurring when “a group or type of activity is perceived as a threat to the
stability and well-being of society”. In order to properly devise a societal moral panic, the
media must first exaggerate and in some cases fabricate information regarding the group
or activity at hand. The spotlight placed on this particular group then creates an
overwhelming amount of scrutiny towards their every move. For example, the
emergence of the AIDs epidemic of the 1980s and into the 1990s, allowed Americans to
perceive the disease as affecting only members of the LGBT community. This public
perception labeled sufferers of this terrible illness as a “threat” to the safety of society as
a whole.
Naturally, society is generally wary of any concept or action that makes it
uncomfortable or pushes the boundaries of the normally accepted behavior. Although
homosexuality had been around as long as sexuality itself, the common conservative
American was not accustomed to discussing sexual behavior with their neighbors,
friends, or politicians. Through media published reports that linked homosexual behavior
to mental illness, the public perception of gays shifted towards a fear of the unknown.
This coupled with the mass preaching of several religious sects has shown that a higher
disregard for the LGBT community has arisen out of the fear of the “free choice model of
homosexuality” (Blackwell). By selling the idea that being gay is an individual choice,
society then pushes back, terrified that anyone is capable of choosing the path of
homosexuality. Several critically acclaimed news publications such as Time, Newsweek
and Life all published negatively portrayed articles about homosexuals from the 1940s to
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the 1960s. By using sources such as officials from the military, law enforcement, and
government, these publications were able to sway their readership to view gay
individuals as mentally disturbed. Homosexual individuals rarely received first hand
commentary in these articles as they were fearful of releasing their identity due to
possible public backlash (Blackwell). In fact, up until 1973 when it was revoked as a
mental disorder, gay men and women were believed to have attraction to same sex
partners out of “dysfunctional parent-child relationships and child abuse”, through
psychoanalytic thought (Blackwell).
Eliminating the idea of the deviant from the impression on the gay community, a
new media supported concept emerged that suggested the possibility of a genetic cause
for homosexual behavior deemed the “gay gene” (Horton). By disregarding the “choice”
concept, Time magazine published an article in 1995 entitled Search for the Gay Gene,
describing the possibility of a gene called “w” that was present in male fruit flies with
homosexual tendencies (Horton). Considering the credentials of the magazine and the
nature of the discoveries, the public perceived this new found “gay Gene” as an answer to
the fear of the choice concept. Regardless of its validity, the reports of the media allowed
society to view homosexuals as having been born with a predisposition to this behavior
rather than the popular notion of criminals by choice. Characterized in literature and
research studies, prior to the discovery of the gene, the media supported the concept that
individuals can choose to be gay in extreme settings such as prison systems where a lack
of female interaction has proven to insight homosexual behavior between inmates
(Blackwell).
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Considering the all-consuming effect the entertainment industry has on society, it
would be erroneous to discount entertainment media as having a largely important role in
the perception of the LGBT community. In a study conducted on the level of influence
the media has over the perception of homosexuals, it was found that socialization is the
largest factor in the acceptance of the gay community (Calzo and Ward). Socialization
includes exposure to peers, parents, and religion, but more importantly the media. The
study was conducted with the presence of 1,761 undergraduate level students. The
results of the study indicate that men and women view homosexuality differently based
on specific media consumption that is geared towards their demographic. The same can
be said for various socio-economic backgrounds. Various media outlets that display the
more stereotypical representations of homosexuals are met with a high acceptance rate by
males, while female directed programming, such as soap operas and situational comedies
are also met with a high acceptance rate (Calzo and Ward). Based on the results, it was
discovered that a mainstreaming effect on the media could result in an overall accepted
perception of homosexuality. If multiple media outlets were displaying information with
similar views on homosexuality, the majority would accept a larger, more similar view.
For example, the more men that watched episodes of the television program Will &
Grace, the more accepting they were of homosexuals (Calzo & Ward).
In the 1995 documentary film, The Celluloid Closet, film depictions of
homosexuals are explored from the initial silent films through the 1990s. Hollywood’s
influence on American culture has only grown with the progression of its popularity. As
narrated in the film “Hollywood, that great maker of myths, taught straight people what
to think about gay people and gay people what to think about themselves. No one escaped
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its influence” (Epstein and Freidman). Spotted with various personal tales of film
experiences and historical truths, several well-respected actors, directors, and writers, gay
and straight, including Whoopi Goldberg, Tom Hanks, Shirley MacLaine, Tony Curtis,
and Gore Vidal appear throughout. The appearance of gay stock characters in popular
cinema dates back to the hay days of Charlie Chaplin. The public has been taught to
perceive gay individuals through the representations they see in popular films. Gay
behavior through this medium has taught American audiences to view these characters as
individuals to either laugh at or fear (Epstein and Freidman).
Although many moviegoers aren’t intuitively aware of gay characters, these
fictional creations have appeared in several cult celebrated and award winning films.
Marlene Dietrich in Morocco, Tony Curtis and Jack Lemmon in Some Like it Hot, Peter
Laurie in the Maltese Falcon, and Lauren Bacall in Man with a Horn are just a select few
of several Hollywood Icons who have portrayed either homosexual characters or
characters who embrace homosexual behavior. Though these Hollywood heavy weights
appeared in these films, the sexuality of their characters rested below the surface; never
were they out rightly mentioned as being homosexual. Audiences, both gay and straight,
had to interpret from discreet mentions of close relationships with other characters or
suggestive looks that they harbored any of these gay tendencies. This displayed to all
audiences that even Hollywood was too nervous to represent the plight of these
individuals to the masses. Although these cultural influences have opened the doors for
gay representation in Hollywood, the messages they promote educate audiences to shy
away from these stereotypes as they can either be taken as flamboyant clowns or tragic
figures. Shirley MacLaine in The Children’s Hour and Tom Hanks in Philadelphia are
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examples of the consequences of a homosexual lifestyle. Both characters meet tragic
ends when the Children’s Hour’s Martha ends her life over accusations and the
realization of her homosexuality and Philadelphia’s Andrew eventually succumbs to
AIDS. Buffalo Bill in Silence of the Lambs is another instance in which confusion over
his sexuality and fear of his actions caused audiences to become fearful of just what a
homosexual character is capable of achieving. Buffalo Bill was not only seen as a deeply
disturbed serial murderer but more so as a representation of what the evils of a
homosexual mind can create (Epstein and Freidman).
Audiences learned to fear this behavior as well as enjoyed instances of ridicule at
the expense of stereotypical characters. By creating characters that can insight laughter at
their own expense, audiences are able to shy away from accepting LGBT characters “as
real human beings” (Epstein and Freidman). The stereotype of the feminine sissy has left
room for inclusion into the mass media as they are neither “sexual nor masculine, as men
feel more manly around them and women more womanly” (Epstein and Freidman). Films
like The Birdcage, Mrs. Doubtfire, and Hairspray created a place for gay characters to
adhere to this archetype and realize a higher rate of acceptance among the majority of
audiences. Although they are able to find a place within popular cinema, their
representations allow for audiences to believe that all gay individuals partake in the
exaggerated behavior they see on the film (Epstein and Freidman).
A new generation of gay characters has emerged, celebrated by both audiences
and characters alike, due in part by the emergence of realistic and accurate portrayals.
But, when even Hollywood neglects to acknowledge these portrays of LGBT individuals,
the mass media takes notice. This in return directly reflects on the level of acceptance
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within society for homosexual characters and their stories. The film adaptation of Annie
Proulx’s Brokeback Mountain stunned audiences for its portrayal of love, loss, and
societal acceptance for its two homosexual male characters. During the 2006 Academy
Awards, the winner of the Best Picture went to the racy, racially driven film Crash over
the critically acclaimed tale of two gay cowboys in Brokeback Mountain (Ebert). Famed
film critic Roger Ebert commented on the surprising results in a publication in the
Chicago Sun-Times stating “ Crash was better than Brokeback Mountain although they
were both among the best films of the year. That is a matter of opinion. But I was not
"discomfited" by Brokeback Mountain. I chose Crash as the best film of the year not
because it promoted one agenda and not another, but because it was a better film”.
Several Brokeback Mountain supporters felt as though the Academy purposefully
shunned the film due to its controversial nature and deemed voters as holding
homophobic tendencies. The voting pool of the Academy consists of actors, directors
and writers alike, artists who typically support the plight of the LGBT community and in
many cases may be belong to the community. Ebert quotes another critic, Ken Turan of
the Los Angeles Times, as believing Academy voters to be too nervous to vote for such a
subject matter, “They could vote for it (Crash) in good conscience, vote for it and feel
they had made a progressive move, vote for it and not feel that there was any stain on
their liberal credentials for shunning what 'Brokeback' had to offer. And that's exactly
what they did” (Ebert).
Witnessing the uproar over the selection of the Best Picture created an
opportunity for the public to view Brokeback Mountain in the same nature critics
believed the voters to perceive it, as a highly controversial subject (Ebert). The film itself
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was about two hard working, blue-collar individuals who engage in a turbulent romance
over the course of several decades. Struggling to embrace their true nature and facing the
violent consequences of the region in which they live, one of the men is eventually
believed to be the victim of a hate crime while the other continues to deny his feelings of
passion up until the films conclusion (Ebert). If the Academy of Motion Picture Sciences
cannot embrace such a subject, an organization of the highest regard in cinema, how is
the public capable of perceiving a film about homosexuals in a positive light?
The speed bump of the 2006 Oscars did not forever stain the public perception of
homosexuals in the entertainment industry as seen in the most recent evaluations of
popular television programming. In an article on ABC News.com, GLADD, The Gay &
Lesbian Alliance Against Defamation, announced their excitement for programs such as
Modern Family, Glee, and True Blood for their investment in “developing LGBT
characters” (Marikar). Although the percentage of homosexual characters on primetime
television is down from 3.9 percent to 2.9 percent for the 2011-2012 season, GLAAD
remains pleased for the positive effects these characters have had on the public opinion of
gay individuals (Marikar). Not only are these programs in the acclaim of GLAAD but
they have also experienced praise from audiences and award ceremonies. All three of the
above mentioned shows have received Emmy Awards for the presentation of these
characters. GLAAD specifically praises the representations of gay characters on Modern
Family and Happy Endings. The committed couple of Mitchell and Cameron on Modern
Family are praised for serving as an example of a successful gay relationship that strives
by expanding through adoption. Happy Endings has also grabbed the attention of
GLAAD and viewers by featuring “a gay man whose penchant for football and beer flies
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in the face of stereotypes” (Marikar). By presenting these characters to the public, the
media has created a demand for realistic interpretations of homosexuals. GLAAD’s
senior director of programs, Herndon Graddick, believes that “The American public is
hungry for diverse characters. They want TV to be reflective of their experience in life”
(Marikar).
The progression of the media in accepting the LGBT community has led to great
advancements in public perception since its roots mental illness. Though these
developments have been in favor of a positive homosexual perception, the Gay Rights
Movement itself still lacks a prominent public figure. Several oppressed groups
throughout history have possessed leaders in the public forum from Martin Luther King
to Gloria Steinem (Peters). In article published in the New York Times author Jeremy
Peters explores possible reasons to the lack of a media figure. Considering the struggles
of homosexuals for public acceptance is rooted in a freedom of sexual affiliation, it
remains difficult for the majority of Americans to sympathize with the plight of the gay
community (Peters). If a media figure were to emerge on behalf of the community, they
would be subjected to a higher level of scrutiny as the public will not only have to view
them in a political forum but also as a sexual individual. This would creative a much
more ambitious struggle to gain public respect as previous movement figures have
maintained (Peters). Dudley Clendinen, a professor at Johns Hopkins University and the
author of Out for Good: The Struggle to Build a Gay Rights Movement in America
believes the media and public sympathy is more difficult to attain “Because this
movement is fundamentally about the right to be sexual, it’s hard for the larger public to
see that as a moral issue” (Peters).
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Another possible roadblock in the search for a media figure is said to come from
the focus placed on the efforts to fight against AIDS in the 1980s and into the early 1990s
(Peters). Placing the bulk of their efforts in shifting the media and public perception of
AIDS as a homosexual disease, the search for a public face was overshadowed. The
same occurred throughout the 2000s as the plight of gay activists honed in on
discrimination laws and equality. The most probable explanation for the lack of a
singular figure is the community’s hope that avoiding such a leader could prevent the
media or the public as interpreting the entirety of the gay community through one
individual. Pulitzer Prize winning historian David J. Garrow believes the lack of a
figurehead is due to the idea that “it’s better not to have a concentration or too much
attention overinvested in one individual… The speed and breadth of change has been just
breathtaking. But it’s happened without a Martin Luther King” (Peters).
As the homosexual character emerges as both a figure of realistic and exaggerated
portrays, the public’s viewpoint continues to be directly effected by media presentations.
The influence of mass communication is all consuming, flooding the opinions of society
with images carrying both positive and negative connotations. While true to life
representations of homosexuals are more prominent in popular media outlets, the
stereotypical notions of the group maintain a constant presence. The outreaching
capability of the media and the influence it maintains over the public has proven to shift
the perception of homosexuals from disturbed deviants to celebrated members of society
through popular broadcasted outlets. Whether portrayed as a flamboyant, prancing,
feminine male or an average, blue-collared working individual, the public will continue
to gain knowledge and understanding of the homosexual community through media
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exposure. It is the very slant of mass communication that determines our comprehensive
awareness of LGBT community and how our society will react to social changes within
our communities.
Works Cited
Blackwell, Christopher W. “Nursing Implications in the Application of Conversion
Therapies on Gay, Lesbian, Bisexual, and Transgender Clients”. Issues in
Mental Health Nursing. 29. (2008): 651-665.
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Calzo, Jerel P. & Ward, Monique L. “Media Exposure and Viewers’ Attitudes Toward
Homosexuality: Evidence for the Mainstreaming or Resonance?”. Journal of
Broadcasting & Electronic Media. (2009): 280-299.
Ebert, Roger. “The fury of the ‘Crash’-lash”. Chicago Sun-Times. 6 Mar. 2006. Web.
www.rogerebert.suntimes.com
Horton, Richard. “A ‘gay Gene’? Is Homosexuality Inherited?”. Assault on Gay
America. Frontline PBS. Jul. 1995. Web. www.pbs.org.
Marikar, Shelia. “GLADD Sees Decline in Number of Gay Characters on TV”.
Abcnews.com. 28 Sep. 2011. Web. Abcnews.com
Peters, Jeremy W. “Why the Gay Rights Movement Has No National Leader”. The New
York Times. 20 Jun. 2009. Web. nytimes.com
Potter, Gary W. & Kappeler, Victor E. Constructing Crime: Perspectives on Making
News and Social Problems. Long Grove, IL: Waveland Press, Inc. 2006. Print.
The Celluloid Closet. Dir. Rob Epstein & Jeffrey Friedman. Perf. Lily Tomlin, Tony
Curtis, Susie Bright. Sony Pictures Classics. 1995. DVD.
Weber, Scott. “Parenting, Family Life, and Well-being Among Sexual Minorities:
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Nursing Policy and Practice”. Issues in Mental Health Nursing. 29. (2008):
601-618.