“I’m bi, actually”: Heartstopper y los significados otorgados al salir del clóset

Nuria Gantier Badani; Carol Angela Sarmiento Via; Marisa Geovana Paredes Baltazar

doi:10.35319/puntocero.202449247

Authors

Nuria Gantier Badani Universidad Católica Boliviana https://orcid.org/0009-0007-9583-8963
Carol Angela Sarmiento Via Universidad Católica Boliviana https://orcid.org/0009-0009-5307-9684
Marisa Geovana Paredes Baltazar Universidad Católica Boliviana https://orcid.org/0000-0002-9419-7144

DOI:

https://doi.org/10.35319/puntocero.202449247

Keywords:

Heartstopper, LGBTQ Community, Significances, Identity, Coming out

Abstract

The research focuses on the representation of the LGBTQ+ community through audiovisual media, with a particular focus on the Heartstopper miniseries, and with the aim of understanding the meanings that the young people who have seen the miniseries give it. The proposed methodology includes a correlative approach, an experimental and qualitative design, using bibliographic review and focus groups as one of the main tools. The investigation focuses on two scenes, one of each season, where the main character, Nick Nelson, is contemplated coming out of the clóset. The results show that the audience understands this series as crucial for youth while attributing meanings to their identity, the process of coming out and the representation of LGBTQ+ characters.

Author Biographies

Nuria Gantier Badani, Universidad Católica Boliviana

Bolivian. Student of the Social Communication program at the Universidad Católica Boliviana “San Pablo,” Cochabamba campus.

Carol Angela Sarmiento Via, Universidad Católica Boliviana

Bolivian. Student of the Social Communication program at the Universidad Católica Boliviana “San Pablo,” Cochabamba campus.

Marisa Geovana Paredes Baltazar, Universidad Católica Boliviana

Bolivian. Bachelor in Social Communication and Lecturer in the Social Communication program at the Universidad Católica Boliviana “San Pablo,” Cochabamba campus.

References

Advocates for Youth. (s. f.). Creo que soy asexual. https://www.advocatesforyouth.org/wp-content/uploads/2019/06/ITIMB-ACE-spanish-translation.pdf

Attitude Magazine (Director). (2023, febrero 7). Alice Oseman knows exactly how Heartstopper will end and teases future TV seasons. https://www.youtube.com/watch?v=FP481ZnUr5M

Boustani, K., & Taylor, K. A. (2020). Navigating LGBTQ+ discrimination in academia: Where do we go from here? The Biochemist, 42(3), 16-20. https://doi.org/10.1042/BIO20200024

Burke, P. J., & Stets, J. E. (2009). Identity Theory. Oxford University Press.

Buxó, J., & De Miguel, J. (1999). De la investigación audiovisual: Fotografía, cine, vídeo, televisión. Anthropos Editorial.

Collins, P. H., & Bilge, S. (2019). Interseccionalidad. Ediciones Morata.

Corrigan, P., & Matthews, A. (2009). Stigma and disclosure: Implications for coming out of the clóset. Journal of Mental Health, 12, 235-248. https://doi.org/10.1080/0963823031000118221

Gantier Badani, N., & Sarmiento Via, C. A. (2023). Perfil de investigación.

García Canclini, N. (1999). El consumo cultural: Una propuesta teórica. Construcción teórica y líneas de investigación, 2.

Goldberg, A. E. (2016). The SAGE Encyclopedia of LGBTQ Studies. SAGE Publications.

Goyeneche-Gómez, E. (2012). Las relaciones entre cine, cultura e historia: Una perspectiva de investigación audiovisual. Palabra Clave, 15(3), 387-414.

Hachette Schools (Director). (2022, junio 6). Alice Oseman answers your Heartstopper questions. https://www.youtube.com/watch?v=vy-kMPCZA_U

Lozano Verduzco, I., & Padilla Gámez, N. (2023). Salir del clóset desde la perspectiva sistémica: Un estudio de caso. Revista Puertorriqueña de Psicología, 34(1), 76-90.

Lucero Vargas, J. (2019). Percepciones de la sociedad boliviana acerca de la Comunidad LGBT. Orbis Tertius - UPAL, 3(5), Art. 5. https://doi.org/10.59748/ot.v3i5.36

Moscovici, S. (1979). El psicoanálisis, su imagen y su público. Huemul.

Netflix. (2022). Heartstopper | Sitio oficial de Netflix. https://www.netflix.com/bo/title/81059939

Oseman, A. (s. f.). The History. Alice Oseman. Recuperado 7 de abril de 2024, de https://aliceoseman.com/heartstopper/the-history/

Pohlen, J. (2015). Gay & Lesbian History for Kids: The Century-Long Struggle for LGBT Rights, with 21 Activities. Chicago Review Press.

Prada Oropeza, R. (1993). Cine, discurso fílmico y semiótica cinematográfica [Article]. Centro de Investigaciones Lingüístico Literarias. Universidad Veracruzana. https://cdigital.uv.mx/

Ramírez-Bravo, A., Martínez-José, J. R., & Pérez Lozano, E. A. (2022). El ABC para conocer a la comunidad LGBT+. RA RIÓ GUENDARUYUBI, 5(14), 6-17. https://doi.org/10.53331/rar.v5i14.9629

severusnapesidehoe (Director). (2022, abril 29). [Tik Tok]. https://vm.tiktok.com/ZMMgMD2CH/

Tajfel, H., & Turner, J. C. (2004). The Social Identity Theory of Intergroup Behavior. En Political Psychology. Psychology Press.

Tanti, C., Stukas, A. A., Halloran, M. J., & Foddy, M. (2011). Social identity change: Shifts in social identity during adolescence. Journal of Adolescence, 34(3), 555-567. https://doi.org/10.1016/j.adolescence.2010.05.012

Vitaliti, J. M., & Onofrio Cipolla, R. S. (2011). Salir del clóset: La aceptación del encuentro con uno. https://www.aacademica.org/jose.maria.vitaliti/19.pdf

Walters, M. (2009). What’s up with Webcomics? Visual and Technological Advances in Comics. Interface: The Journal of Education, Community and Values. https://www.semanticscholar.org/paper/What%27s-up-with-Webcomics-Visual-and-Technological-Walters/d0a1a3ab18d35fabb8a49192ec99b470fd0ad6eb

Zavala Kahn, S. (2019). La representación de personajes LGBT en el cine. Ventana Indiscreta, 022, Art. 022. https://doi.org/10.26439/vent.indiscreta2019.n022.4652