Queer Representation in Animation and Visual Media
The LGBTQ+ community has always struggled to find visibility and acceptance in popular culture, but this is changing thanks to shows like Steven Universe, She-Ra and the Princesses of Power, and many others. These programs feature characters who identify as something outside of the heteronormative binary, challenging viewers' perceptions of gender and sexuality while also promoting positive representations of diverse identities.
Creators must navigate corporate constraints and cultural backlash when crafting these stories. This paper will explore how queer representation in animation and visual media shapes younger audiences' perceptions of identity, how creators negotiate corporate constraints and cultural backlash, and what future media might look like when queer presence is taken for granted.
Younger Audiences' Perceptions of Identity
Children exposed to LGBTQ+ characters in animated shows may develop more accepting attitudes towards those identities than children who aren't exposed to them. Research suggests that exposure to media featuring same-sex couples can increase tolerance among young people, particularly if the relationships are presented positively. In a study by Dr. Amy Bleakley et al., elementary school students were randomly assigned to watch either an episode of Dora the Explorer or Arthur with positive portrayals of LGBTQ+ families, or no show at all. Those who saw the episodes with LGBTQ+ content reported significantly greater support for same-sex marriage than those who did not.
Researchers found that watching such media resulted in decreased prejudice against gay men and lesbians (Bleakley et al.). Other studies have shown similar results: Exposure to pro-LGBTQ+ media has been linked to increased acceptance of homosexuality and support for legal protections (Dittmar & Simpson 2019).
Negotiating Corporate Constraints
Creating queer characters in animation and visual media can be difficult due to conservative pressures from advertisers and networks. Some companies may be hesitant to include LGBTQ+ content out of fear of alienating certain audiences or losing advertising dollars.
Cartoon Network initially rejected Steven Universe creator Rebecca Sugar's pitch because it featured two male protagonists who were in love. When she revised the plot to make one character female, the network approved the series (Miller). Similarly, Netflix reportedly removed a kiss between two women from She-Ra and the Princesses of Power after receiving pressure from advertisers (Couto). Despite these challenges, creators are finding ways to subvert corporate constraints by using code words and subtle references instead of explicit representation.
Daron Nefcy, creator of The Owl House on Disney Channel, incorporates "cryptic language" into her show to convey LGBTQ+ themes without risking censorship or backlash (Ortiz-Gilbert).
The Future: Taking Queerness for Granted?
While the progress made so far is encouraging, there is still work to be done before queer identities become mainstream in media. Some critics argue that shows like Steven Universe and She-Ra are simply tokenistic efforts to check off boxes rather than genuine attempts at diversity (Bell).
Many marginalized communities remain underrepresented or misrepresented within the LGBTQ+ umbrella. It will take time for these issues to be addressed fully.
With each step forward, younger generations will continue to grow up seeing themselves reflected in popular culture, leading to greater acceptance and understanding of diverse identities. Eventually, perhaps queerness may become as commonplace in animation and visual media as heteronormative representations currently are. Only time will tell what form this future might take, but it's clear that change is happening now.