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Acting Gay: Male Actors Shift the Frequency Components of Their Voices Towards Female Values When Playing Homosexual Characters

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Abstract

The purpose of this study was to investigate whether actors playing homosexual male characters in North-American television shows speak with a feminized voice, thus following longstanding stereotypes that attribute feminine characteristics to male homosexuals. We predicted that when playing homosexual characters, actors would raise the frequency components of their voice towards more stereotypically feminine values. This study compares fundamental frequency (F0) and formant frequencies (F i ) parameters in the speech of fifteen actors playing homosexual and heterosexual characters in North-American television shows. Our results reveal that the voices of actors playing homosexual male characters are characterized by a raised F0 (corresponding to a higher pitch), and raised formant frequencies (corresponding to a less baritone timbre), approaching values typical of female voices. Besides providing further evidence of the existence of an “effeminacy” stereotype in portraying male homosexuals in the media, these results show that actors perform pitch and vocal tract length adjustments in order to alter their perceived sexual orientation, emphasizing the role of these frequency components in the behavioral expression of gender attributes in the human voice.

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Acknowledgments

Many thanks to Karen McComb and Robin Banerjee for their helpful comments on earlier versions of the paper.

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Correspondence to Valentina Cartei.

Appendices

Appendix 1

Calculation of Formant Spacing

Formant spacing (ΔF) was calculated by fitting a model that assumes that the vocal tract is an open (lips)—closed (glottis) tube with a uniform cross-section (quarter-wave resonator) to the observed formant values (Reby and McComb 2003). In this model individual formant frequencies are inversely related to the length of the vocal tract by the following formula:

$$ F_{i} = \frac{{\left( {2i - 1} \right)c}}{4VTL}, $$
(1)

where c is the speed of sound in air (approximated as 350 m/s in the vocal tract), i is the number of the formant (i = 1, 2,…) and VTL is the length of the vocal tract (Titze 1994).

Since the formant frequency spacing can be expressed as the difference between any two adjacent formants, ΔF is inversely related to VTL:

$$ \Updelta F = F_{i + 1} - F_{i} = \frac{c}{2VTL}$$
(2)

By replacing VTL in Eq. (1) with ∆F estimated in Eq. (2), individual formants are directly related to ∆F:

$$ F_{i} = \frac{{\left( {2i - 1} \right)}}{2}\Updelta F $$
(3)

Thus, ∆F can be derived from Eq. (3) as the slope of the linear regression of observed formant frequency values Fi (y-axis) over the expected formant positions (2i−1)/2 (x-axis), and with the intercept set to 0 (Reby and McComb 2003).

Appendix 2

See Tables 2, 3 and 4.

Table 2 Acoustic characteristics (in Hz) of actors’ voices in homosexual roles
Table 3 Acoustic characteristics (in Hz) of actors’ voices in heterosexual roles
Table 4 Acoustic characteristics (in Hz) of actors’ voices in interviews

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Cartei, V., Reby, D. Acting Gay: Male Actors Shift the Frequency Components of Their Voices Towards Female Values When Playing Homosexual Characters. J Nonverbal Behav 36, 79–93 (2012). https://doi.org/10.1007/s10919-011-0123-4

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