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Judith Bulter’s theory on gender performativity in conversation with TV series Pose.

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  • Kurs
  • Cultural studies (INTRODUCTIONTOLITERARYANDCULTURALTHEORY)
  • Hochschule
  • Amsterdam University College (AUC)

The television series Pose (2018), created by Ryan Murphy, Brad Falchuk, and Steven Canals is an American TV series influenced by the American documentary film Paris is Burning (1990). Paris is Burning documented the ball culture in New York during the mid-to-late 1980s. One could argue that Pose i...

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Dokument Information

  • 4. februar 2021
  • 6
  • 2018/2019
  • Essay
  • Unbekannt
  • 7-8

Themen

  • gender studies
  • judith butler
  • pose
  • mass media
  • representation
  • gender performativity

Schule, Studium & Fach

  • Amsterdam University College (AUC)
  • Liberal Arts And Sciences
  • Cultural studies (INTRODUCTIONTOLITERARYANDCULTURALTHEORY)
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Maud van den Berge

Marc Farrant

900161HUMY – Introduction to Literary & Cultural Theory

05/28/2019

Judith Bulter’s theory on gender performativity in conversation with TV series Pose.

The television series Pose (2018), created by Ryan Murphy, Brad Falchuk, and Steven

Canals is an American TV series influenced by the American documentary film Paris is Burning

(1990). Paris is Burning documented the ball culture in New York during the mid-to-late 1980s.

One could argue that Pose is a dramatized and more fictional remake of Paris is Burning, as the

narrative structure of Pose is fictional, but the ballroom scenes and the characters are very

similar to those in Paris is Burning. Pose portrays the ball culture in New York City, following

the lives of African American, Latino, gay and transgender peoples participating in that culture.

It touches upon the glory within the ballroom scenes as well as the struggles and oppression the

community faces during that time. These issues are similarly addressed by Judith Butler in her

essay on gender insubordination, therefore this paper will discuss how Butler’s text – influenced

by Michel Foucault and Jacques Derrida – can be explored through the example of the television

series Pose.

The discourse around gender and sexuality, according to Michel Foucault, is rooted in the

medical categorization of homosexuality in 1870. “Homosexuality appeared as one of the forms

of sexuality when it was transposed from the practice of sodomy to a kind of interior androgyny,

a hermaphrodism of the soul” (Foucault 1472). Language influences the categorization of gender

as societies have a strong tendency to give everything a name in order to control it, following

Foucault’s argument that “modern power produces the very categories, desires, and actions it

strives to regulate” (1472). Foucault’s power/knowledge argument and the notion that nothing

appears outside of discursive and social networks is what Judith Butler bases her argument on,

, Berge, van den 2


saying that to be able to identify with something one has to disregard another thing, which,

according to Butler, “[discloses] the true and full of that “I”, a certain radical concealment is

thereby produced” (309). To be able to identify oneself, distinction from others within societal

structures is necessary, therefore one can never step outside of the societal structures that exist

around, for instance, gender. In other words, when identifying as e.g. a lesbian, one conforms to

the totalization of that ‘being’ within the boundaries of it.

However, the deconstructionist approach attempts to identify what encompasses these

societal structures to be able to deconstruct them and question the assumptions about what

individuals are. Foucault’s argument is that “the homosexual carries his homosexuality within

himself at every moment; the act comes to determine identity”, and through this “modern power

produces subjects who have identities” (1473). Butler has a similar argument saying that by

distinguishing oneself as other than heterosexual, i.e. being ‘out’, “always depends to some

extent on being “in”; it gains its meaning only within that polarity” (309). The deconstructionist

approach tries to dismantle this in saying that there is no core gender identity from which we

derive all ‘other’ identities. Furthermore, this is where Butler argues that gender is performative

in the way that one can “both “be” one, and yet endeavor to be one at the same time” (311). She

stresses that gender performativity is not like playing a role but “how and where [playing] at

being [a lesbian] is the way in which that “being” gets established, instituted, circulated, and

confirmed” (311).

Relating this to how drag culture is represented in Pose, the performative part of gender

can be taken more literally as an object of analysis. Butler claims that “the professionalization of

gayness requires a certain performance and production of a “self” which is the constituted effect

of a discourse that nevertheless claims to “represent” that self as a prior truth” (310). This is

visible in Pose through the focus on how the characters in the show struggle to be authentic and

express their own style as transgender women. The way in which the trans women in Pose are

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