As shown in What is normal? // Nomi, Nomi represents an example of a trans woman, whose storyline isn’t based on the fact that she is not cisgendered. Maura (Jeffrey Tambor – buhu), on the other hand, is an example of how Transparent has embraced the fact that she is a trans woman, making it central to her storyline, since she starts transitioning late in life, and we, the audience, is invited to join her journey towards finding herself and becoming an ‘intelligible’ woman.
The first time we are introduced to the woman Maura, who was previously shown as the male ‘Mort’ is through an establishing shot of Los Angeles’ LGBT(Q)-center. After, we are further invited to participate in her life. We are presented with a big, more or less empty room. At the center, 10-15 people are gathered in a circle, which suggests they are all participating in a support group:
In the following shot, we see a close-up of some of the people at the meeting, which creates a feeling of actually being present and participating, not just looking at the people present. With this, we are in feeling with the characters via a subjective camera:
The camera continues to pan, shedding light to the very different faces of the participants who all make up a diverse group of individuals: young and old, different skin colors, men and women.
In relation to this, it is important to note, that Transparent portrays the LGBTQ-environment, and especially trans* people in a relatable and diverse way, and that all trans*, queer (people who belong under a much broader umbrella than the one provided by the heterosexual matrix) characters are played by people who lives these life in real life (the only cisgendered to play a trans woman is Tambor as Maura) This is definitely part of creating credibility in the storylines and stories that Transparent are portraying (Soloway in Moylan 2016).
Then we hear a rather deep, ‘masculine’ voice telling us about an episode in Target, while the other people (and their reactions) are still in the frame:
(21:29 in Pilot) (21:39 in Pilot)
While telling the story, the camera reaches the person talking. The viewer meets Maura for the first time (before her children):
Maura, who we were previously introduced to as ‘Mort’ has long, dark brown hair, earrings, make-up and a purple dress. In other words, she looks different from the first time we saw her. “Thank you for your share, Maura” (22:24 i Pilot), says the woman who is leading this support group. ‘Mort’ is Maura – and we have been invited to her support group for trans* people. This is a very welcomed first!
The fact that we, the viewers, are introduced to the Maura before her kids can be seen as a well planned strategy by the creator. This is a tool that, according to Mittell, creates a relation between the viewer and the protagonist/character since ‘we know something others don’t’. Furthermore, Maura opens up and talks about very personal feelings and experiences in a fragil (and realistic) situation, which underlines this potential character engagement that occurs when we are given access to her thoughts, feelings and conceptual universe (Mittell 2015: 129).
In relation to ‘queer gaze’, Soloway explains:
“I can tell a woman directed this because I feel held by something that is invested in my feelings. In my body. That my emotions are being prioritized over the actions”(Soloway 2016: 19:23)
This quote makes clear exactly what is happening in the abovementioned scene with Maura in the support group and her ‘self outing’ to the viewer. The subjective camera opens up a space for us to enter her thoughts in a brilliant way. This is an act of trust that trusts in ‘I see you seeing me’ and in this way the viewer becomes part of the journey that Mauras has just started. Which, among other things, includes ‘coming out’ (see our post on ‘Coming Out’ which is underway) to her children.
This very intimate insight into Maura’s thoughts (in the very first episode) is part of creating an understanding of as well as empathy with Maura as a person. We are part of her most vulnerable journey (‘transition’) away from a life dictated by the heteronorm. We see Maura. We are not looking at her. This is an extremely important difference. Maura continues:
(…) One more thing. I made a commitment here last week that I was going to come out to my kids and I didn’t do it… Because it just wasn’t time, you know? But I will and it will be soon, I promise you. I promise you. I promise you [raises her right hand](23:07 in Pilot)
The same way Maura opens up to the viewer about her being Maura and not ‘Mort’ as her children wrongfully believe, she also promises the viewer that she will reveal her true self to her children and the rest of her family. We are therefore in on her secret. This effect (operational reflexivity mixed with intertextual references) appeals to a:
(…) til et præeksisterende kulturelt fællesskab, hvor referencerne giver mening for tv-seeren, fordi de er genkendelige og har en funktion. Mittell opfatter den operationelle refleksivitet som selvbevidste virkemidler der indbyder seeren til både at engagere sig i og værdsætte fortællingens udformning(Haastrup 2014)
(…) to a preexisting cultural community, where the references makes sense to the viewer, since they are recognisable and has a function. Mittel(l) sees the operational reflexivity as conscious tools that invites the viewer to engage in – and appreciate the way the story is being told
This means that the viewer engage with the series on a deeper level which works to make sure that we potentially feel ‘obligated’ to continue to follow the Pfeffermans and their lives to know what happens to them. At the same time, this means that the viewer feels compassion and empathy for Maura as a character (Mittell 2015: 50).
This scene helps the viewer to get an insight into the division Maura feels – both when it comes to family and society – who expect her to be ‘Mort’ (which means death in France). It is made clear here, that Maura lives two different lives – and has done for decades, which becomes more and more clear throughout the series.
Very early on in the show, Transparent portrays gender as being everything but pinned down- it is performative (as Butler talks about). The division Maura feels is further substantiated in the following frame:
The tiles in the background looks like bars and might therefore symbolize imprisonment (something the series continues to do throughout). This can be seen as a symbolic imprisonment of Maura and other trans* people caused by a cisgendered society that constantly punishes those who do not fit the frames of a heteronormative society. They become the opposite of ‘intelligible genders’.
Exactly because trans* people are forced to be aware of the necessity of performing ones gender a certain way according to which community/space they are in (not to say, cisgender people don’t perform their gender – but they are under less societal pressure) – and the expectations towards gender of that space, the LGBT(Q)-center is an example of a safe space, where the frames are wider – and the tables have turned. In here, for a little while, they are not the minority.
This might also be a reason why some trans* people choose only to live ‘openly’ in closed spaces as fx in this support group.
Both Nomi and Maura are presented as complex characters who are not solemnly defined by the discrimination that is often used to portray trans* people in the medias. An examples is Boys Don’t Cry (1999) that is one of the most acknowledge film about a young trans man’s tragic destiny (based on true events). Hilary Swank’s oscar nominated portrayal of Brandon Teena’s fight for love and a life as the boy he is ends brutally when he is raped and killed by his girlfriend’s brothers.
- Soloway, Jill (2015-): Transparent. Pilot, Amazon
- Moylan, Brian (2016): Transparent’s Jill Soloway: I was ignorant about trans politics.The Guardian. Found here
- Haastrup, Helle Kannik (2014): Blog: De nye tv-serier. Udfordring og fordybelse. Rusk. Found here
- Mittell, Jason (2015): Complex TV: The Poetics of Contemporary Television Storytelling. New York University Press. ISBN: 978-0-8147-7135-8
- Soloway, Jill (2016): The Female Gaze. Master Class, TIFF 2016. Listen here