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Furthermore, these emotions influenced health behaviors through the way they were managed. The grounded theory model suggests shame and pride emerge through an interaction between social reality, life experiences of minority stress and resilience, and perceptions of self. This study conducted a secondary qualitative analysis of life-history interviews from 36 racially diverse SMAs.
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However, little empirical research has been conducted to understand the influence these emotions have on this population. Shame and pride are salient to understanding the experiences of SMAs because American society has culturally constructed their identities to be dichotomized as shameful and something to be hidden, or prideful, and something to be celebrated. This study explored the development and impact of shame and pride among sexual minority adolescents (SMA) to better understand emotions as psychosocial mechanisms of wellbeing. My point here is not to poison those pleasures but to unwrap some of the paradoxes of the narrative dichotomies inscribed. Queer As Folk was a huge hit with gay, lesbian and straight women audiences it functioned as a popular cross-over text carrying complex enjoyment to some diverse viewing positions.
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This essay will explore the encoding of gay identity within the series. The shorter, two-part sequel, Queer As Folk 2, screened in February 2000, similarly received significant pre-exposure in a number of media domains. The programme has subsequently developed iconic value for Channel 4, appearing on much of their publicity material and mission statements, signifying the sincerity of their liberal credentials. Queer As Folk, an eight-part gay drama scheduled in February, March, and April 1999, was seen by Channel 4’s Chief Executive Michael Jackson as a signature show that would help to develop the channel’s distinctive place in British broadcasting for radical, experimental, minority television.