This week’s discussion of ‘transing’ TV grapples with new exposure and potential of representation with the introduction of new digital platforms providing new ways of viewing TV.  Trans TV is  defined by Hogg and Goddard as the “process of transformation, and a starting point for reflecting on the emergence of prominent televisual representations of transgender characters, as well as, in some cases, performers, writers and producers.” (Goddard and Hogg 2020) That is to say, advancements made to representation in television coincide with introductions to new tech, and therefore must be looked at together.  Because streaming platforms promote a more ‘niche’ audience member, as you are able to sift through many shows to find those which connect, allowing shows like ‘Transparent’ and ‘Pose’ .  It is to be noted that this representation is not representative of traditional documentary or realist representations of queer identities, but rather hold aesthetics which coincide with cinematic traditions.  

Shown in through the example of Pose, although the show has been a forefront in showcasing various trans identities, the show is not ‘real’ highlighted in the characters often breaking out in song when it comes to serious situations such as Candy’s death. Overall, digital platforms have allowed for a showcase of more identities, which has allowed audience members greater views of identities they may not have come in contact with in individual life.   

References

Goddard, M.N. and Hogg, C. (2020) ‘Trans TV dossier, III: Trans TV re-evaluated, part 1’, Critical studies in television, 15(2), pp. 162–164. doi:10.1177/1749602020918957.

By John-Michael LaDage

(Written week 5)