ABSTRACT

An analysis of Pose (2018–2021) shows that the way HIV/AIDS suffering was represented in this series was very different to earlier representations. In particular, multimodal analysis is deployed to show how the series contributes to the provision of opportunities for audiences to identify and empathize with people living with HIV/AIDS (PLWHA). At a critical discourse level of analysis, Pose enables audiences to reflect on the position of PLWHA in the society; as such, rather than promoting feelings of care, the series appears to encourage audiences to engage with HIV/AIDS suffering in more depth, promoting the possibility of audiences contributing to the demand for civil rights for PLWHA. Indeed, the analysis suggests that Pose addresses social stigmatization and marginalization in a manner that promotes sociocultural change. The us-versus-them binary is reversed in such a manner whereby it becomes possible that those who contribute to the stigmatization of PLWHA are the ones who become the Others. The contribution of the series lies not only on the fact that PLWHA, as well as members of the queer community, were involved in the creation and production process; rather, the series addresses HIV/AIDS in an empowering, rather than a stigmatizing, manner.

摘要

对Pose（2018-2021 年）的分析表明，该系列中 HIV/AIDS 痛苦的表现方式与早期的表现方式截然不同。特别是，多模式分析被用来展示该系列如何为观众提供机会来识别和同情艾滋病毒/艾滋病感染者（PLWHA）。在批判性话语分析层面，Pose使观众能够反思 PLWHA 在社会中的地位；因此，该系列似乎并没有促进关怀的感觉，而是鼓励观众更深入地参与艾滋病毒/艾滋病的痛苦，从而提高观众为感染者对公民权利的需求做出贡献的可能性。事实上，分析表明Pose以促进社会文化变革的方式解决社会污名化和边缘化问题。我们与他们的二元关系以这样一种方式颠倒过来，即那些对 PLWHA 进行污名化的人有可能成为其他人。该系列的贡献不仅在于 PLWHA 以及酷儿社区的成员参与了创作和制作过程；相反，该系列以一种赋权而不是污名化的方式处理艾滋病毒/艾滋病。