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#Queer as folk soundtrack season 4 series
#Queer as folk soundtrack season 4 tv

#Queer as folk soundtrack season 4 series

On t (.)ģ First, a word on the US version of QAF, aired on Showtime from 2000 to 2005, and which, while often called a “remake”, is really a reprising, rewriting, and extended adaptation of the British series created by Russell T. 9 For more on the British version, see Glyn Davis, Queer As Folk, Norfolk, Cromwell Press, 2007.I will finally focus on the plot around the adaptation of the Rage comics into film as an exposure of the “real” world queer masculinity of comics and action hero films, and of the homophobic context in which QAF stands out as a singular political achievement 8. Bearing in mind that the reprisal of the first gay-bashing scene is central both to QAF’s political discourse and to its soap storytelling, I will analyze how the floor show, comic book and storyboard function as a form of echoing of the series itself how the multiple levels of storytelling, with their inset audiences, break down fourth walls and re-create a feeling of gay (or gay-friendly, if the viewers are not gay) community. Far from weakening the series, it allows it to articulate more subversive messages 7, highlighting the queer subtext in established mainstream popular culture genres (comics, action hero films) and obviously reinforcing QAF’s main achievement – the queering of soap itself.

#Queer as folk soundtrack season 4 tv

8 One can also see Queer As Folk US as a gay version of Sex & The City (Darren Star, HBO, 1998-2004), (.)Ģ While the mise en abyme of a series, often in the form of a film within the series or a TV series within the series, is frequently a symptom of entropy (cases in point: the inset film in The L Word 4 Season 5 or the inset medical soap in Nip/Tuck 5 Season 5), QAF in this respect resembles Heroes (Tim Kring, NBC, 2006-2010), in that its reprising within remediation seems part of its core message and aesthetic originality 6.

7 On the essential issue of the ideological reasons for adapting and re-adapting a work – which can a (.).

6 QAF ’s inset parody of itself (the soap opera Gay as Blazes, which Brian derides) is quite separate (.).

4 The L Word (Ilene Chaiken, Showtime, 2004-2009).

This intermediality, while it can be seen as a marketing strategy (the choice of multiplatform storytelling 3), can also be read as a form of centrifugal hypertextuality and as the series’ metatextual image for itself. Because this hate crime is a charged element within the soap opera framework of the series and within its political discourse, it is hardly surprising that it is taken up in a series of inset remediations 2: Brian, Justin’s lover and helpless witness to the attack, is remediated into the superhero Rage and the series itself into the Rage comics, floorshow, and storyboard.

3 See Simone Murray, “Brand Loyalties: Rethinking Content Within Global Corporate Media,” Media Cultu (.)ġ This paper shall examine how recurrence functions diegetically within the series Queer As Folk 1 (Showtime, 2000-2005), and how the reprising of one major event – the gay-bashing of Justin, the cliffhanger Season 1 ends on – structures the narrative.

2 Jay David Bolter and Richard Grusin defined the concept of “remediation” in their groundbreaking st (.).

Je soutiendrai que la remédiation permet à la série d’articuler des messages subversifs, à la fois en soulignant le message sous-jacent queer dans les grands genres de culture populaire établis (BDs, films d’action et de super-héros) et en soulignant la réussite singulière de la série, au-delà de la création d’un héros de BD gay « out » : la queerification du soap en soi.

Cette intermédialité peut être lue comme une forme d’hypertexte et de narration multiplateforme, ainsi que l’image métatextuelle de la série pour elle-même. Comme un élément sensible dans le cadre soap opera de la série et dans son discours politique, cette violence est reprise dans une suite de remédiations (BDs, spectacle théâtral, story-board à un film hollywoodien et des courtes séquences de film animé). Cet article examine comment la récurrence fonctionne dans la diégèse de la série Queer as Folk (Showtime, 2000-2005) et comment des variations sur le même événement - la violence anti-gay vécue par Justin - sont délibérément incorporées au récit.