Abstract
This article argues that despite the omnipresence of homophobia relayed linguistically and thematically in The Wire, the show also includes some remarkable instances of male homoeroticism in the way it visualizes “cinematically” its black male characters. The result is a groundbreaking exploration of the relations between race, television realism, and spectatorship.
This content is only available via PDF.
© 2008 by the Regents of the University of California.
2008
You do not currently have access to this content.