Refletir sobre o passado, imaginar um futuro: os jovens chilenos e a visibilidade LGBTQ+ nas plataformas do streaming
DOI:
https://doi.org/10.26439/contratexto2025.n44.7518Palavras-chave:
públicos LGBTQ+ , plataformas de streaming , interpretações , televisão , ChileResumo
A presença televisiva de figuras e narrativas LGBTQ+ tem aumentado significativamente nas últimas décadas, principalmente nas plataformas de streaming. Este artigo oferece uma análise de como 30 jovens LGBTQ+ chilenos se relacionam com esta visibilidade. Através de uma análise temática de entrevistas semiestruturadas, exploramos as formas como os participantes interpretam os programas com conteúdo LGBTQ+, mostrando que preferem aquelas representações que não se focam na identidade diversa/dissidente, mas sim noutros elementos da vida quotidiana LGBTQ+. Defende-se que este tipo de figuras e narrativas podem ter um impacto positivo no desenvolvimento da identidade e no bem-estar destes públicos, mostrando os dois mecanismos – reflexão sobre o passado e imaginação de possibilidades futuras – através dos quais esta ligação opera.
Downloads
Referências
Antezana, L., & Andrada, P. (Eds.). (2018). En clave adolescente: referentes, prácticas y hábitos del consumo audiovisual. Instituto de la Comunicación e Imagen; Consejo Nacional de la Cultura y las Artes.
Arnett, J. J. (2000). Emerging adulthood: A theory of development from the late teens through the twenties. American Psychologist, 55(5), 469-480. https://doi.org/10.1037/0003-066X.55.5.469
Bond, B. J. (2015). The mediating role of self-discrepancies in the relationship between media exposure and well-being among lesbian, gay, and bisexual adolescents. Media Psychology, 18(1), 51-73. https://doi.org/10.1080/15213269.2014.917591
Bond, B. J., Hefner, V., & Drogos, K. (2009). Information-seeking practices during the sexual development of lesbian, gay, and bisexual individuals: The influence and effects of coming out in a mediated environment. Sexuality and Culture, 13(1), 32-50. https://doi.org/10.1007/s12119-008-9041-y
Bourdieu, P. (1998). La distinción: criterio y bases sociales del gusto. Taurus.
Braun, V., & Clarke, V. (2022). Thematic analysis: A practical guide. SAGE.
Busselle, R., & Bilandzic, H. (2008). Fictionality and perceived realism in experiencing stories: A model of narrative comprehension and engagement. Communication Theory, 18(2), 255-280. https://doi.org/10.1111/j.1468-2885.2008.00322.x
Capuzza, J. C., & Spencer, L. G. (2017). Regressing, progressing, or transgressing on the small screen? Transgender characters on U. S. scripted television series. Communication Quarterly, 65(2), 214-230. https://doi.org/10.1080/01463373.2016.1221438
Cavalcante, A. (2018). Struggling for ordinary: Media and transgender belonging in everyday life. New York University Press.
Consejo Nacional de Televisión. (2024). XI Encuesta Nacional de Televisión. https://cntv.cl/wp-content/uploads/2024/12/Presentacion_XI_ENTV_Revisada_11_12_2024.pdf
Craig, S. L., McInroy, L., McCready, L. T., & Alaggia, R. (2015). Media: A catalyst for resilience in lesbian, gay, bisexual, transgender, and queer youth. Journal of LGBT Youth, 12(3), 254-275. https://doi.org/10.1080/19361653.2015.1040193
Dhoest, A. (2023). Generations and shifting sexual identifications among Flemish non-straight men. Journal of Homosexuality, 70(10), 2011-2034. https://doi.org/10.1080/00918369.2022.2048164
Dhoest, A., & Van Ouytsel, J. (2022). Queer media generations: Shifting identifications and media uses among non-heterosexual men. European Journal of Communication, 37(6), 663-678. https://doi.org/10.1177/02673231221101741
Dimock, M. (2019, 17 de enero). Defining generations: Where millennials end and generation Z begins. Pew Research Center. https://www.pewresearch.org/fact-tank/2019/01/17/where-millennials-end-and-generation-z-begins/
Dunn, K. (2016). Interviewing. En I. Hay (Ed.), Qualitative research methods in human geography (4.a ed., pp. 149-188). Oxford University Press.
Feedback Research. (2024). 16.a Encuesta sobre participación, jóvenes y consumo de medios. https://ciclos.udp.cl/cms/wp-content/uploads/2024/12/Informe-Encuesta-Jo%CC%81venes-2024.pdf
Gomillion, S. C., & Giuliano, T. A. (2011). The influence of media role models on gay, lesbian, and bisexual identity. Journal of Homosexuality, 58(3), 330-354. https://doi.org/10.1080/00918369.2011.546729
Hall, S. (1996). Introduction: Who needs ‘identity’? En S. Hall & P. du Gay (Eds.), Questions of cultural identity (pp. 1-17). SAGE.
Jenkins, H. (2008). Convergence culture: la cultura de la convergencia de los medios de comunicación. Paidós.
Jenner, M. (2018). Netflix and the re-invention of television. Palgrave Macmillan.
Johnson, C. (2019). Online TV. Routledge.
Lotz, A. D. (2014). The television will be revolutionized (2.a ed.). New York University Press.
Lotz, A. D. (2022). Netflix and the streaming video. The business of subscriber-funded video on demand. Polity.
Lovelock, M. (2019). Reality TV and queer identities: Sexuality, authenticity, celebrity. Palgrave Macmillan.
Lüders, M., & Sundet, V. S. (2022). Conceptualizing the experiential affordances of watching online TV. Television and New Media, 23(4), 335-351. https://doi.org/10.1177/15274764211010943
McInroy, L. B., & Craig, S. L. (2015). Transgender representation in offline and online
media: LGBTQ youth perspectives. Journal of Human Behavior in the Social Environment, 25(6), 606-617. https://doi.org/10.1080/10911359.2014.995392
McInroy, L. B., & Craig, S. L. (2017). Perspectives of LGBTQ emerging adults on the depiction and impact of LGBTQ media representation. Journal of Youth Studies, 20(1), 32-46. https://doi.org/10.1080/13676261.2016.1184243
McNicholas, K. (2020). Lesbians on television: New queer visibility & and the lesbian normal. Intellect.
Mittell, J. (2015). Complex TV: The poetics of contemporary television storytelling. New York University Press.
Muñoz, J. E. (1999). Disidentifications: Queer of color and the performance of politics. University of Minnesota Press.
Muñoz, J. E. (2020). Utopía queer: el entonces y allí de la futuridad antinormativa. Caja Negra.
Murphy, R., Falchuk, B., Jacobson, N., Mock, J., Simpson, B., Woodall, A., Marsh, S. & Canals, S. (Productores ejecutivos). (2018-2021). Pose [Serie de TV]. Color Force; Brad Falchuk Teley-Vision; Ryan Murphy Television; FXP.
Orgad, S. (2020). The sociological imagination and media studies in neoliberal times. Television and New Media, 21(6), 635-641. https://doi.org/10.1177/
1527476420919687
Otis, H. N., & Dunn, T. R. (2021, 31 de agosto). Queer worldmaking. En Oxford encyclopedia of queer studies and communication. Oxford University Press. https://doi.org/10.1093/acrefore/9780190228613.013.1235
Ramírez, R. (2024). Differentiating from TV representations: Shame and the process of gay/lesbian identification among Chilean television viewers. Journal of Homosexuality, 71(13), 3174-3195. https://doi.org/10.1080/00918369.2023.2283862
Rodrigues Lima, C. A., & Cavalcanti, G. K. (2020). “Homophobia is so last century”: Activism of telenovela fans in defense of fictional lesbians couples. Comunicación y Sociedad, 1-28. https://doi.org/10.32870/cys.v2020.7312
Sánchez-Soriano, J. J. (2022). Representación del colectivo LGBT+ en la ficción televisiva española contemporánea (2015-2020). Comunicación y Sociedad, 1-23. https://doi.org/10.32870/cys.v2022.8307
Sánchez-Soriano, J. J., García-Jiménez, L., & Rodrigo-Alsina, M. (2023). “También podemos tener finales felices”: recepción e interpretación de personajes LGTBIQ+ en series de televisión. Cuadernos.info, (55), 22-45. https://doi.org/10.7764/cdi.55.53897
Sanz, J. M. (2018). Shaping LGBTQ identities: Western media representations and LGBTQ people’s perceptions in rural Spain. Journal of Homosexuality, 65(13), 1817-1837. https://doi.org/10.1080/00918369.2017.1390812
Sender, K. (2025). The queer vanguard: How television streaming platforms promoted intersectional LGBTQ+ content to establish their brands. Journal of Communication, 75(3), 161-170. https://doi.org/10.1093/joc/jqae049
Soto-Sanfiel, M. T., & Vázquez-Tapia, E. A. (2024). We deserve better: Spanish adolescents’ perspectives of the portrayal of LGBTQ+ characters in fiction. International Journal of Communication, 18, 5154-5176. https://ijoc.org/index.php/ijoc/article/view/21000/4855
Theodoro, H., & Cogo, D. (2021). Imaginaries about Brazil in the media consumption of LGBTIQ+ immigrants and refugees in the city of São Paulo. International Journal of Communication, 15, 61-81. https://ijoc.org/index.php/ijoc/article/view/13412/3309
Van Haelter, H., Dhaenens, F., & Van Bauwel, S. (2022). Trans persons on trans representations in popular media culture: a reception study. DiGeSt. Journal of Diversity and Gender Studies, 9(1), 76-88. https://doi.org/10.21825/digest.81844
Vázquez Rodríguez, L. G., García-Ramos, F. J., & Zurian Hernández, F. A. (2020). La representación de identidades queer adolescentes en “Sex education” (Netflix, 2019-). Fonseca Journal of Communication, (21), 43-64. https://doi.org/10.14201/fjc2020214364
Villegas-Simón, I., Sánchez Soriano, J. J., & Ventura, R. (2024). ‘If you don’t “pass” as cis, you don’t exist’. The trans audience’s reproofs of ‘Cis Gaze’ and transnormativity in TV series. European Journal of Communication, 39(1), 22-36. https://doi.org/10.1177/02673231231163704
Villegas-Simón, I., Sánchez-Soriano, J. J., & Ventura, R. (2025). Beyond representation: negotiating realism and the positive impact of media narratives with trans audiences. Communication, Culture & Critique, 18(1), 67-73. https://doi.org/10.1093/ccc/tcae044
Walters, P., Canning, I., Sherman, E., Lyn, E., Oseman, A., Kousetta, H., & Laurenson, J. (Productores ejecutivos). (2022-presente). Heartstopper [Serie de TV]. See-Saw Films.
Żerebecki, B. G., Opree, S. J., Hofhuis, J., & Janssen, S. (2021). Can TV shows promote acceptance of sexual and ethnic minorities? A literature review of television effects on diversity attitudes. Sociology Compass, 15(8), 1-16. https://doi.org/10.1111/soc4.12906
Downloads
Publicado
Edição
Seção
Licença
Este trabalho está licenciado sob uma licença Creative Commons Attribution 4.0 International License.
Todos os trabalhos publicados estão sujeitos a uma licença CC BY 4.0 Creative Commons. (atualizado em 1 de marzo de 2021)
O conteúdo da revista pode ser compartilhado em qualquer material ou formato. Também pode ser adaptado, contribuído e transformado. Ambas as possibilidades só são permitidas na medida em que atendam às seguintes condições:
- Atribuição: o crédito deve ser dado onde for devido, fornecer um link para a licença e indicar as alterações, se houver. Isso deve ser feito da maneira considerada apropriada, sem sugerir que o licenciante está promovendo você ou o uso do material.
Direitos de propriedade
Os direitos patrimoniais da Contratexto são publicados sob uma licença Creative Commons BY 4.0, que permite aos autores manter os direitos econômicos de suas obras sem restrições.
Se uma obra publicada na Contratexto for copiada, distribuída, divulgada ou qualquer outra atividade contemplada na referida licença, o autor ou autores e a revista devem ser clara e expressamente mencionados.
Autoarquivamento
Esta revista permite e incentiva os autores a publicar artigos submetidos à revista em seus sites pessoais ou em repositórios institucionais, tanto antes quanto depois de sua publicação nesta revista, desde que forneçam informações bibliográficas que credenciem, se for o caso, sua postagem.
