Please post your discussion questions on Katz, "Advertising and the Construction of Violent White Masculinity" and Aaron, "Towards Queer Television Theory: Bigger Pictures Sans the Sweet Queer After" below. Use the following questions to guide your reading:
1. Katz begins his essay by pointing out the historical absence of attention to masculinity--and more specifically, class-conscious attention to masculinity--within discussions and debates surrounding gender in mass media, though recently this has begun to shift. What, according to Katz, are the consequences of this inattention? Why does he believe masculinity needs to be addressed?
2. What, in your view, are some areas in which masculinity ought to be addressed? How might this be done?
3. What does Katz understand as "hegemonic masculinity"?
4. What are some of the symbols that circulation around this concept in advertising? What are the cultural narratives in which hegemonic masculinity operates? Where do you see some of these narratives operating in your own experience with media?
5. What are some examples of images of hegemonic masculinity?
6. What do you think are the consequences of the circulation of these images?
7. Michele Aaron suggests three avenues that queer theorizing of television and film could take in the future: the "queer and now"; the "sweet queer-after"; the "queer re:." How do you understand each of these three possible direction? What do you see as the possibilities and limitations of each? Why does Aaron see the third of these paths as having the most political possibility at present?
8. Later in the piece, she suggests a fourth, the extraterrestrial. How do you understand this term? What do you think is its usefulness?
9. How does Aaron view the concept "queer"? How does this differ from terms like "homosexuality" in terms of its critical and political use-value?
10. For Aaron, why is it important to analyze "queer texts"?
11. Finally, how does Six Feet Under operate as an object for queer theorizing, for Aaron?
12. What does she see as the possibilities of its queerness? What do you think about this?
13. How, for Aaron, is queerness a frame for understanding not only the text--that is, the content of a television show or movie--but also viewing practices? What do you think about her suggestions for understanding viewing practices within this frame?