Dr. Jayne Caudwell
School of Leisure and Sports Studies, Leeds Metropolitan University.

Tipping the Velvet: Straight [forward] voyeurism? Problematising the viewing of lesbian bodies and lesbian pleasure

'Lesbian films' are clearly made for the general public and serve to reinforce negative images of lesbianism - as such, few lesbians find anything to identify with in these films, whose purpose is to continue to support the status quo. These films fulfil voyeuristic desires whilst warning women to stay in safe heterosexual domesticity, despite the implied inadequacy of their own sexual competence. (Sheldon, 1999, p. 305)
     The paper offers a critical engagement with the representations of lesbianism in the BBC2 screening of Sarah Water's book Tipping the Velvet (Andrew Davies adapted the original narrative for television and this appeared in three one-hour programmes on 9th, 16th and 23rd October, 2002). It draws on research completed on discussion and debate appearing publicly during the screening of Tipping the Velvet, namely commentary within the print media and an analysis of the BBC website - Tipping the Velvet. In addition, to support an analysis that problematises seeing lesbian bodies and lesbian pleasure on television, qualitative research with lesbians who have seen the series is included.
     Media representations of lesbians and gays have been identified as invisible, hidden and coded (Gross and Woods, 1999), demeaning and offensive (Dyer, 1999 in Gross and Woods) and 'pathological, predatory and dangerous; villains and fools, but never heros' (Russo, 1987 cited in Gross and Woods, p. 292). More specifically, it is argued (Sheldon, 1999 in Gross and Woods, 1999) that 'when lesbians do appear the effect is far more negative than their simple absence' (p. 301). Recent popular 'lesbian films' such as Bound, High Art and Kissing Jessica Stein are open to such a critique, whereby images of lesbianism has 'nothing to do with the ways lesbians might perceive each other, and a great deal to do with heterosexual male fantasy' (Whelehan, 2000). In these films recuperation is achieved through punishment, death or the reaffirmation of patriarchy. That said, there is an emergence of lesbian film genre (and literature) that attempts to move beyond recuperation and 'woman as sexual spectacle for male gaze' (Stacey, 1994 in Gammon and Marshment, 1994). For example, Fire, Better than Chocolate, French Twist, and If these Walls could Talk 2.
     The paper examines not only the greater visibility of lesbian characters in contemporary popular media but also more specifically the ways in which lesbianism is portrayed in Tipping the Velvet. Once taboo, explicit lesbian sex scenes now appear viable, sellable and contribute to the emerging commodification of sexuality. In this vein, important questions must be asked concerning the voyeuristic and the erotic in order to avoid a depoliticisation of lesbian bodies and lesbian pleasure.

References
Gamman, L and Marshment, M. (1994 - reprint) The Female Gaze. Women as Viewers of Popular Culture. London: The Women's Press.
Gross, L. and Woods, J. (1999) Lesbians and Gay Men in Media, Society, and Politics. West Sussex: Columbia.
Whelahan, I. (2000) Overloaded. Popular Culture and the Future of Feminism. London: The Women's Press.