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Chapter 4 Sexual Content in Soap Operas - Leicester Research ...

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Sex and <strong>Sexual</strong>ity: A <strong>Content</strong> Analysis of <strong>Soap</strong> <strong>Operas</strong><br />

not shown literally but <strong>in</strong>ferred through the sequence of narratives or scenes—<br />

judged exactly the same as <strong>in</strong> the <strong>in</strong>tercourse categories.<br />

Portrayals and <strong>in</strong>cidents of sexual violence, rape and/or attempted rape, whether<br />

implied or depicted, were coded separately (categories 9 and 10) when the storyl<strong>in</strong>es<br />

and narratives <strong>in</strong>dicated that illegal and violent sexual behaviours or sexual<br />

<strong>in</strong>tercourse without consent were tak<strong>in</strong>g place or attempted. A f<strong>in</strong>al category of<br />

‗other‘ was <strong>in</strong>cluded to capture other highly <strong>in</strong>frequent behaviours that did not fit the<br />

other n<strong>in</strong>e mentioned categories.<br />

3.3.3 Themes and Context: Special <strong>Content</strong> Measures<br />

All scenes conta<strong>in</strong><strong>in</strong>g ‗sexual behaviour‘ or ‗sexual talk‘ have been subjected to<br />

further analysis to evaluate thematic and contextual details embedded with<strong>in</strong> the<br />

scenes. However, some special content cod<strong>in</strong>g measures were applied to portrayals<br />

featur<strong>in</strong>g ‗sexual behaviours‘ only to capture additional contextual details, as will be<br />

separately expla<strong>in</strong>ed below. The rationale for construct<strong>in</strong>g and borrow<strong>in</strong>g some of<br />

these measures lies <strong>in</strong> the ways audiences react to such contextual variables. UK<br />

Op<strong>in</strong>ion survey studies have shown certa<strong>in</strong> members of an audience, for <strong>in</strong>stance,<br />

disapprove of the prevalence of the portrayal of explicit <strong>in</strong>timate sexual behaviours,<br />

homosexual sex, extra-marital affair and cheat<strong>in</strong>g (Millwood-Hargrave, 1992 and<br />

1999; Hill and Thomson, 2000), while others are more accept<strong>in</strong>g of portrayal of<br />

sexual behviours if they were <strong>in</strong>tegral to storyl<strong>in</strong>es and overall contexts (Hill and<br />

Thomson, 2000).<br />

‗<strong>Sexual</strong> <strong>in</strong>tercourse‘ portrayals, whether ‗behaviour‘ or ‗talk‘, were also<br />

measured separately by us<strong>in</strong>g two dist<strong>in</strong>ct categories that look further <strong>in</strong>to the<br />

themes of <strong>in</strong>tercourse. The ‗First-time sexual <strong>in</strong>tercourse‘ category refers to sexual<br />

<strong>in</strong>tercourse activities where, at least for one of the characters, this was the first time<br />

or experience of engag<strong>in</strong>g <strong>in</strong> sexual <strong>in</strong>tercourse. Topics on and depictions of ‗los<strong>in</strong>g<br />

virg<strong>in</strong>ity‘ and first-time sexual experiences are prime examples. The second<br />

category, ‗sexual <strong>in</strong>tercourse that <strong>in</strong>volves cheat<strong>in</strong>g/<strong>in</strong>fidelity‘ refers to sexual<br />

<strong>in</strong>tercourse activities that represent a violation of a relationship between two people<br />

who are strongly committed to each other, and who consider their relationship to be<br />

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