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Queer coding is the attribution of stereotypically queer traits to fictional characters without explicitly stating their gender and sexual identity. [1]
Queer coding may have had a negative impact on perceptions of queerness in media as villains are often queer-coded.
Queer coding is a concept both in the discussion of media portrayal of LGBT people and academic research involving queer theory or gender studies.
In 1930, the Hays Code was established, which regulated the content of films and prohibited the portrayal of homosexuality. [2]
In animation, cartoon artists were able to portray the gender of characters in androgynous, asexual, and gender-fluid ways. Jerry from the Tom & Jerry cartoons has been noted[ by whom? ] to have an androgynous and even feminine design. The 1966 short "Jerry-Go-Round" has been interpreted[ by whom? ] as containing a coded lesbian relationship between Jerry and a female elephant, even though Jerry is male. [3] Cade M. Olmstead, a philosopher, has argued that Tom and Jerry "subverts normalized gender and sexuality structures" through theatrical play and performance, transgressing the normal construction of gender. [4] "Queer coding" has also observed in the Bugs Bunny cartoon. [5]
In the late 1980s, villains in Disney films which were "queer coded" began to appear. [6] Commentary on the treatment of LGBT+ characters in film is made in the 1995 documentary The Celluloid Closet , and is one of the first instances in which the idea of queer coding is presented to the public. [7]
Until the 1970s, gay characters generally did not appear on American television. [5]
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. [9] Thus, villains became noted in particular to have effeminate characteristics, behaviors or gestures that could be perceived as LGBTQ. [10] [11] Disney characters have attracted attention because their films are popular among children. [12] [13] [14] Examples include:
While many examples can be pulled from Disney, the trend of queer coding villains in prominent media and film extends beyond the corporation. Some examples include:
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's attribution of queer characteristics and behaviors to villainous or antagonistic characters. [20]
Gaston and LeFou in the 1991 film Beauty and the Beast and Jafar from the 1992 film Aladdin were created by an openly gay animator named Andreas Deja, [21] and sang music by Howard Ashman, who was also openly gay. The fact that Deja had also worked on Scar in The Lion King and the titular character in Hercules , for example, has been discussed as an influence on the development of some Disney characters. [22] [23] [24]
Queer coding has led to some 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. [6] In 2011, Deja told news.com.au that 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." [25] However, critics regarded such queer-coded villains as contributing to "homophobic discourse" and equating queerness with evil itself. [26] [27] Other critics have claimed that this attribution can lead to a negative association between queerness and immoral, licentious behavior. [28] [13]
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. [29]
Andreas Deja is a Polish-born German-American character animator most noted for his work at Walt Disney Animation Studios. Deja's work includes serving as supervising animator on characters in several Disney animated films, including the Disney villains Gaston in Beauty and the Beast, Jafar in Aladdin, and Scar in The Lion King, the titular character in Hercules, and Lilo Pelekai in Lilo & Stitch.
Queer Duck is an American adult animated web series produced by Icebox.com that originally appeared on the company's website, then later moved to the American cable network Showtime, where it aired following the American version of Queer as Folk. Although far from featuring the first gay cartoon character, Queer Duck was among the first animated series to have homosexuality as its predominant theme.
LGBTQ themes in horror fiction refers to sexuality in horror fiction that can often focus on LGBTQ+ characters and themes within various forms of media. It may deal with characters who are coded as or who are openly LGBTQ+, or it may deal with themes or plots that are specific to gender and sexual minorities.
LGBT representation in children's television is representation of LGBT topics, themes, and people in television programming meant for children. LGBT representation in children's programming was often uncommon to non-existent for much of television's history up to the 2010s, but has significantly increased since then.
Historically, the portrayal of lesbian, gay, bisexual, transgender and queer (LGBTQ) people in media has been largely negative if not altogether absent, reflecting a general cultural intolerance of LGBTQ individuals; however, from the 1990s to present day, there has been an increase in the positive depictions of LGBTQ people, issues, and concerns within mainstream media in North America. The LGBTQ communities have taken an increasingly proactive stand in defining their own culture, with a primary goal of achieving an affirmative visibility in mainstream media. The positive portrayal or increased presence of the LGBTQ communities in media has served to increase acceptance and support for LGBT communities, establish LGBTQ communities as a norm, and provide information on the topic.
LGBTQ+ media or gay media refers to media that predominantly targets a gay, lesbian or LGBTQ+ allied audience. The primary target market for gay media may also more broadly be considered to include members of an LGBTQ+ community. Secondary targets are LGBTQ+ allies, and in some instances those who oppose gay rights may be targeted as a form of activism to change their minds. There are many types of gay media, and the type is determined by the purpose of the media presented. Gay or queer media can also be defined as web sites, films, magazines and other cultural products that were created by queer individuals, or groups that are typically out, meaning that they are public or open about their identity. Gay creators do not always include gay themes or issues in their productions but there is usually at least subtle references to queerness or acceptance in these media.
Scar is a fictional character and the main antagonist in Disney's The Lion King franchise. He was created by screenwriters Irene Mecchi, Jonathan Roberts and Linda Woolverton and animated by Andreas Deja. Scar is introduced in the first film as the younger and envious brother of Mufasa, the ruler of the Pride Lands. Originally first in line to Mufasa's throne, until he is suddenly replaced by Mufasa's son, Simba, Scar decides to lead an army of hyenas in his plot to take the throne by killing Mufasa and Simba, who escapes into exile, ultimately blaming his brother's death on his nephew.
India has a long and ancient tradition of culture associated with the LGBTQ community, with many aspects that differ markedly from modern liberal western culture.
Since the transition into the modern-day gay rights movement, homosexuality has appeared more frequently in American film and cinema.
Queerbaiting is a marketing technique for fiction and entertainment in which creators hint at, but do not depict, same-sex romance or other LGBTQ+ representation. The purpose of this method is to attract ("bait") a queer or straight ally audience with the suggestion or possibility of relationships or characters that appeal to them, while not alienating homophobic members of the audience or censors by actually portraying queer relationships.
The following outline offers an overview and guide to LGBTQ topics:
The portrayals of bisexuality in the media reflect societal attitudes towards bisexuality in the existing media portrayals. Throughout history, numerous bisexual characters have appeared in television series, including cartoons, anime, video games and web series, along with literature, comics, radio, and other mediums.
In the United States, before the enforcement of the Hays Code, some cartoon shorts contained humor that was aimed at adult audience members rather than children. Following the introduction of the Motion Picture Association of America film rating system, independent animation producers attempted to establish an alternative to mainstream animation. Initially, few animation studios in the United States attempted to produce animation for adult audiences, but later examples of animation produced for adults would gain mainstream attention and success. Some of the most prominent animations with these mature/adult themes include Aqua Teen Hunger Force, BoJack Horseman, South Park, Family Guy, Mission Hill, and Archer, along with other adult animated television series, feature films, and animation in other forms which helped the genre expand over the years, beyond animated sitcoms.
Gay is a term that primarily refers to a homosexual person or the trait of being homosexual. The term's use as a reference to male homosexuality may date as early as the late 19th century, but its use gradually increased in the mid-20th century. In modern English, gay has come to be used as an adjective, and as a noun, referring to the community, practices and cultures associated with homosexuality. In the 1960s, gay became the word favored by homosexual men to describe their sexual orientation. By the end of the 20th century, the word gay was recommended by major LGBT groups and style guides to describe people attracted to members of the same sex, although it is more commonly used to refer specifically to men. At about the same time, a new, pejorative use became prevalent in some parts of the world. Among younger speakers, the word has a meaning ranging from derision to a light-hearted mockery or ridicule. The extent to which these usages still retain connotations of homosexuality has been debated and harshly criticized. This page examines gay characters in fictional works as a whole, focusing on characters and tropes in cinema and fantasy.
Cartoon Network, an American TV channel which launched in 1992, and Adult Swim, its adult-oriented nighttime programming block which launched in 2001, has regularly featured lesbian, gay, bisexual, and transgender (LGBT) characters in its programming.
This article features the history of the representation of lesbian, gay, bisexual, transgender and queer (LGBTQ) characters in animated productions under The Walt Disney Company, including films from the studios Walt Disney Animation Studios and Pixar, and programming from the Disney Branded Television channels as well as the streaming service Disney+. From 1983 onward, Disney struggled with LGBTQ representation in their animated series, and their content often included LGBTQ stereotypes or the content was censored in series such as Blazing Dragons. Some creators have also criticized Disney studio executives of cutting LGBTQ scenes from their shows in the past, or criticized that their shows were not seen as part of the "Disney brand", like The Owl House.
In Western animation, LGBTQ themes means plotlines and characters which are lesbian, gay, bisexual, transgender, or otherwise queer in series produced in Western countries, and not in Japan, which can also have similar themes. Early examples included Bugs Bunny in drag, wearing a wig and a dress, as a form of comedy, or episodes of Tom & Jerry, under restrictive moral guidelines like the Hays Code with some arguing that animation has "always had a history of queerness." This later evolved into gay-coded characters in Disney films like Beauty and the Beast and The Little Mermaid, and in animated series such as The Simpsons and South Park. In later years, other series would more prominently depict same-sex characters and relationships. This would include Adventure Time, Steven Universe, The Legend of Korra, Gravity Falls, Clarence, The Loud House, and Arthur. Such series, and others, have encountered roadblocks, with series creators attempting to make their programs "more welcoming of different characters," and ensure all-ages animation is no longer "bereft of queer characters." Previously, an online database, by Insider, documented over 250 LGBTQ characters in children's animation dating back to 1983, but the "representation of overtly queer characters" skyrocketed from 2010 to 2020, with promotion of these series by some streaming platforms, while other companies were not supportive of overt representation, for one reason or another.