sign in sign up

<<

Pornography and the Justices: the Supreme Court and the Intractable Obscenity Problem (Carbondale: Southern Illinois Univer• Sity Press, 1996), 12

Pornography and the Justices: the Supreme Court and the Intractable Obscenity Problem (Carbondale: Southern Illinois Univer• Sity Press, 1996), 12

NOTES

PREFACE

1. Cited in Richard F. Hixson, Pornography and the Justices: The Supreme Court and the Intractable Obscenity Problem (Carbondale: Southern Illinois Univer• sity Press, 1996), 12. 2. Ibid., 13. 3. Ibid.,13. 4. J. D. Salinger, The Catcher in the Rye (Boston: Little, Brown, 1951),45.

CHAPTER 1

1. Ernst Cassirer's best-known works on the topic of symbolism are An Essay on Man (New Haven, CT: Yale University Press, 1944); Language and Myth (New York: Dover, 1946); and The Philosophy of Symbolic Forms (New Haven, CT: Yale University Press, 1957). 2. Stephen Sondheim, International Herald Tribune, June 20, 1989. 3. Roland Barthes, Mythologies (Paris: Seuil, 1957). 4. Marina Roy, Sign after the X (Vancouver: Advance Artspeak, 2000). 5. Douglas Coupland, Generation X (New York: St. Martin's, 1991). A recent defense of Generation X is the one by Jeff Gordinier, X Saves the World: How Generation X Got the Shaft But Can Still Keep Everythingfrom Sucking (New York: Viking, 2008). 6. Roy, Sign after the X, 144. 7. Robert Priest, The Man Who Broke Out of the Letter X (Toronto: Coach House, 1984). 8. Roy, Sign after the x., 28. 9. Craig Conley, One Letter Words (New York: HarperCollins, 2005), 203-14. 10. Marquis de Sade, Philosophy in the Bedroom (I 795; New York: Arrow Books, 1999), 10. 11. In The Sacred and the Profane: The Nature of Religion (New York: Harper Torchbooks, 1961), Mircea Eliade argues that the sacred versus profane dichotomy was the psychic force that gave rise to religions and cultures generally. 12. Mikhael Bakhtin, Speech Genres and Other Late Essays (Austin: University of Texas Press, 1987). 166 NOTES

13. Arthur Asa Berger, Making Sense of Media (Oxford: Blackwell, 2005), 38-39. 14. Mikhail Bakhtin, Rabelais and His World (Bloomington: Indiana University Press, 1984), 95. 15. Naomi Klein, No Logo: Taking Aim at the Brand Bullies (New York: Alfred A. Knopf,2000). 16. Roy, Sign after the X 17. John Lough, "The Analysis of Popular Culture," in The Media Book, ed. Chris Newbold, Oliver Boyd-Barrett, and Hilde Van den Buick (London: Arnold, 2002), 212. 18. Milan Kundera, The Unbearable Lightness ofBeing (New York: Harper Peren• nial, 1984),234. 19. Susie O'Brien and Imre Szeman, Popular Culture: A User's Guide (Toronto: Thomson, 2004), 7. 20. Matthew Arnold, Culture and Anarchy (1869: Oxford: Oxford University Press, 2006). 2l. John Storey, Inventing Popular Culture (London: Blackwell, 2003). 22. See, for example, Marshall McLuhan, The Gutenberg Galaxy (Toronto: Uni• versity of Toronto Press, 1962) and Understanding Media (London: Rout• ledge & Kegan Paul, 1964). 23. A good overall assessment of Gramsci's views of hegemony can be found in Peter Ives, Gramsci's Politics ofLanguage: Engaging the Bakhtin Circle and the Frankfurt School (Toronto: University of Toronto Press, 2006). 24. Berger, Making Sense ofMedia, 104. 25. Barthes, Mythologies (Paris: Seuil, 1957). 26. See Raymond Williams, Communications (London: Penguin, 1962). 27. See especially Raymond Williams, Marxism and Literature (Oxford: Oxford University Press, 1977). 28. Williams, Communications, 140. 29. Joseph A. Schumpeter, Capitalism, Socialism and Democracy (New York: Harper, 1942), 12. 30. The reader interested in overviews of pop culture theory can consult Tom Bottomore, The Frankfurt School (London: Routledge, 1984): Graeme Turner, British Cultural Studies (London: Routledge, 1992): Dominic Stri• nati, An Introduction to Theories of Popular Culture (London: Routledge, 1995): John Storey, An Introduction to Cultural Theory and Popular Culture (Hemel Hempstead: Harvester Wheatsheaf, 1997): and Storey, Inventing Popular Culture (London: Blackwell, 2003). 31. John Leland, Hip: The History (New York: HarperCollins, 2004). 32. Vaclav Havel, Disturbing the Peace (New York: Vintage, 1990), 59. 33. See, for example, Frederic Jameson, Postmodernism, or, The Cultural Logic of Late Capitalism (Durham, NC: Duke University Press, 1991). 34. Jameson, Postmodernism, 1-2. 35. Stan Cohen, Folk Devils and Moral Panics: The Creation ofMods and Rockers (London: MacGibbon and Kee, 1972). NOTES 167

36. James B. Twitchell, Shopping for God: How Christianity Went from in Your Heart to in Your Face (New York: Simon and Schuster, 2007). 37. Camille Paglia, Sex, Art, and American Culture (New York: Random House, 1992),23. 38. Ibid, 24. 39. A. W Stencell, Seeing Is Believing: America's Sideshows (Toronto: ECW, 2002), xix. See also Joe Nickell, Secrets of the Sideshows (Louisville: Uni• versity of Kentucky Press, 2006), and Marc Hartzman, American Sideshow: An Encyclopedia ofHistory's Most Wondrous and Curiously Strange Performers (New York: Tarcher, 2006), for discussions of the role of sideshows in the constitution of American culture. 40. Francesca Twinn, The Miscellany ofSex: Tantalizing Travels through Love, Lust and Libido (London: Capella, 2007), 19. 41. Debbie Nathan, Pornography (Toronto: Groundwork Books, 2007). 42. Walter Kendrick, The Secret Museum: Pornography in Modern Culture (Berke• ley: University of California Press, 1987). 43. Ken Gelder, Subcultures: Cultural Histories and Social Practice (London: Routledge, 2007).

CHAPTER 2

1. I researched the names of vase and vessel in forty languages and found that in thirty-five of them, the equivalent words also started with a Vor else had a Vin them. 2. Catherine Blackledge, The Story of V (London: Phoenix, 2003). 3. Ibid., 50-69. 4. Linda M. Scott, Fresh Lipstick: Redressing Fashion and Feminism (New York: Palgrave Macmillan, 2005), 167. 5. Marina E. Buszek, Pin-Up Grrrls: Feminism, Sexuality, Popular Culture (Dur• ham: Duke University Press, 2006). 6. Scott, Fresh Lipstick, 9. 7. Lynn Peril, Bluestockings, Sex Kittens, and Coeds, Then and Now (New York: W W Norton, 2006). 8. Hanne Blank, Virgin: The Untouched History (New York: Bloomsbury, 2007). 9. Francesca Twinn, The Miscellany of Sex: Tantalizing Travels through Love, Lust and Libido (London: Capella, 2007), 27. 10. Clarissa Smith, One for the Girls! The Pleasures and Practices ofReading Wom• en's Porn (Chicago: University of Chicago Press, 2007). 11. Rachel Shteir, Striptease: The Untold History of the Girlie Show (Oxford: Oxford University Press, 2004). 12. Michael Sims, Adam's Navel: A Natural and Cultural History of the Human Form (London: Penguin, 2003). 13. William Rossi, The Sex Lives of the Foot and Shoe (New York: Dutton, 1976). 168 NOTES

14. Kathy Peiss, Hope in a Jar: The Making ofAmerica's Beauty Culture (New York: Metropolitan Books, 1998). 15. Mark I. Pinsky, The Gospel According to Disney: Faith, Trust, and Pixie Dust (Louisville: Westminster John Knox, 2004), 77. 16. Sangeet Duchane, Beyond the Da Vinci Code: From the Rose Line to the Blood• line (New York: Sterling, 2005), 121. 17. Gerald Early, "Life With Daughters: Watching the Miss America Pageant," Kenyon Review (1991): 32. 18. bell hooks, Black Looks: Race and Representation (Boston: South End, 1992), 69. 19. Ibid., 158-59. 20. Arthur Asa Berger, Making Sense ofMedia (Oxford: Blackwell, 2005), 159. 21. There is, of course, much more to the debate regarding the relation between gender, identity, representation, and pop music. However, this goes far beyond the confines of the present discussion. There is, in fact, a vast lit• erature on this topic. Interesting discussions can be found, for example, in Sheila Whitley, ed., Sexing the Groove: Popular Music and Gender (London: Routledge, 1997); and Lori Burns and Melisse Lafrance, Disruptive Divas: Feminism, Identity and Popular Music (London: Routledge, 2001). 22. Thomas Pynchon, V (New York: Vintage, 1961). 23. Virginia Woolf, A Room of One's Own (Cambridge: Cambridge University Press, 1929),26. 24. Arthur Asa Berger, Ads, Fads, and Consumer Culture: Advertising's Impact on American Character and Society (Lanham, MD: Rowman & Littlefield, 2000),88. 25. Berger, Ads, 126-27. 26. Berger, Ads, 131. 27. Cited in Norman K. Denzin, Images of Postmodern Society (London: Sage, 1991), 14. 28. Germaine Greer, The Female Eunuch (London: Picador, 1970),39. 29. "The Poet's Vow," in Selected Poems ofElizabeth Barrett Browning by Eliza• beth Barrett Browning (London: Chatto & Windus, 1988), 12. 30. A good discussion of this blurring of the lines between pop culture and other forms of culture, such as evangelical Christianity, is the one offered by Adam Possamai, Religion and Popular Culture: A Hyper-Real Testament (New York: Peter Lang, 2005). 31. Ursula K. Le Guin, "Is Gender Necessary?" in Aurora: Beyond Equality, ed. Susan Anderson and Vonda McIntyre (Greenwich: Fawcett, 1976),24. 32. Milan Kundera, Immortality (London: Faber and Faber, 1991),239.

CHAPTER 3

1. Guy Davenport, The Geography of the Imagination (London: Picador, 1984). 2. Ibid. NOTES 169

3. Pablo Picasso, quoted in Saturday Review, September 1, 1956,39. 4. Marty Neumeier, The Brand Gap (Berkeley, CA: New Riders, 2006), 1. 5. Daniel Boorstin, The Image (New York: Atheneum, 1961),234. 6. See, for example, Carl Jung, Memories, Dreams, Reflections (New York: Vin• tage,I965). 7. On the history of this fascinating symbol, see Ken Kolsbum and Michael S. Sweeney, Peace: The Biography ofa Symbol (New York: National Geographic, 2008); and Barry Miles, Peace: 50 Years ofProtest (New York: Reader's Digest, 2008). 8. Naomi Klein, No Logo: Taking Aim at the Brand Bullies (Toronto: Alfred A. Knopf, 2000). 9. Alan E. Bryman, The Disneyization of Society (London: Sage, 2004), 25-26. 10. Eric Schlosser, Fast Food Nation (Boston: Houghton Mifflin, 2001), 34. 11. William Leiss, Stephen Kline, Sut Jhally, and Jacqueline Botterill, Social Communication in Advertising: Consumption in the Mediated Marketplace (London: Routledge, 2005), 20-35. 12. Henri Lefebvre, Everyday Life in the Modern World (New York: Harper, 1971). 13. Ibid., 55. 14. Abba Eban, from a speech given on December 16, 1970, in London. 15. Michel de Certeau, The Practice ofEveryday Life (Berkeley, CA: University of California Press, 1984). 16. Barry Hoffman, The Fine Art ofAdvertising (New York: Stewart, Tabori, & Chang, 2002), 101. 17. William Leiss, Stephen Kline, Sut Jhally, and Jacqueline Botterill, Social Communication in Advertising, 493. 18. Hoffman, The Fine Art ofAdvertising, 7. 19. Cited in James B. Twitchell, Twenty Ads that Shook the World (New York: Crown, 2000), 8. 20. Gregory Thomas, How to Design Logos, Symbols 6- Icons (Cincinnati: How Design Books, 2000), 9. 21. Arthur Asa Berger, Shop 'Til You Drop: Consumer Behavior and American Culture (Lanham, MD: Rowman & Littlefield, 2005). 22. Max Weber, The Protestant Ethic and the Spirit of Capitalism (New York: Scribner's, 1958). 23. Berger, Shop Til You Drop, 6. 24. Ibid., 7. 25. Arthur Asa Berger, Making Sense ofMedia (Oxford: Blackwell, 2005), 5. 26. Alex Frankel, Word Craft: The Art of Turning Little Words into Big Business (New York: Three Rivers, 2004), 81. 27. Richard Oliver and Tim Leffel wrote a book to inform brand designers how to include hip-hop themes and symbols in their overall marketing strategy titled Hip-Hop, Inc.: Success Strategies of the Moguls (New York: Thunder's Mouth, 2006). 170 NOTES

28. William Leiss, Stephen Kline, Sur Jhally, and Jacqueline Botterill, Social Communication in Advertising. 68. 29. Herbert Marcuse, One-Dimensional Man (New York: Beacon, 1964), 18. 30. James Graham Ballard, Crash (New York: Farrar, Straus, and Giroux, 1973), x.

CHAPTER 4

1. David Sacks, Language Visible: Unraveling the Mystery ofthe Alphabet from A to Z (New York: Broadway, 2003), 176. 2. David Crystal, Language and the Internet (Cambridge: Cambridge Univer• siry Press, 2001). Crystal has more recently provided an in-depth analysis of such language in baing: the grS dbs (Oxford: Oxford Universiry Press, 2008). 3. Naomi S. Baron, Always On: Language in an Online and Mobile World (Oxford: Oxford Universiry Press, 2008), 169. 4. Zipf's most important works include Selected Studies ofthe Principle ofRela• tive Frequency in Language (Cambridge, MA: Harvard Universiry Press, 1932); The Psycho-Biology ofLanguage: An Introduction to Dynamic Philology (Boston: Houghton-Mifflin, 1935); and Human Behavior and the Principle ofLeast Effort (Boston: Addison-Wesley, 1949). A good study of the relation between Zipf's Law and Internet language is the one by Lada A. Adamic and Bernardo A. Huberman, "Zipf's Law and the Internet," Glottometrics 3 (2002): 143-50. 5. Adrian Mourby, "Language Is Forever Changing, Innit?" Times Educational Supplement, August 2001, 16. 6. Vivian Cook, Accomodating Brocolli in the Cemetary or Why Can't Anybody Spell? (New York: Touchstone, 2004), 9. A good assessment of the role of moral panic in pop culture and media is the one by Kenneth Thompson, Moral Panics (London: Routledge, 1998). And a fine treatment of the poten• tial impacts of i-Language on linguistic communication generally is the one by Naomi Baron, Alphabet to Email: How Written English Evolved and Where It's Heading (London: Routledge, 2001). 7. Mark Abley, The Prodigal Tongue (Boston: Houghton Mifflin, 2008). 8. Paula Laroche, On Words: Insight into How our Wordr Work and Don't (Oak Park, IL: Marion Street, 2007), 48. 9. Ibid., 49. 10. The incident led me to write the book Cool: The Signs and Meanings ofAdo• lescence (Toronto: Universiry of Toronto Press, 1994), in which the idea of slang as theatrical language first crossed my mind. 11. Elizabeth Hardwick, Bartleby in Manhattan and Other Essays (New York: Vintage, 1968),46. 12. Robert S. Wachal, "Taboo or not Taboo: That Is the Question," American Speech 77 (2002), 195-206. NOTES 171

13. Leslie Savan, Slam Dunks and No-Brainers: Language in Your Life, the Media, Business, Politics, and, Like, Whatever (New York: Alfred A. Knopf, 2005). 14. Peter Shaffer, Amadeus (London: Penguin, 1993), 109. 15. Vivian Cook, Accomodating Brocolli, 59. 16. Ibid.,70. 17. Ibid., 32. 18. Ibid., 44. 19. Ibid., 22-23. 20. Ibid., vii. 21. Ibid., viii. 22. Marshall McLuhan's rwo most important books are The Gutenberg Galaxy (Toronto: University of Toronto Press, 1958); and Understanding Media (London: Routledge & Kegan Paul, 1964). The quotation is from the latter book, 24. An insightful work dealing with the ideas of McLuhan in the Age of the Internet is the one by Paul Levinson, Digital McLuhan: A Guide to the Information Millennium (London: Routledge, 2001). 23. McLuhan, Understanding Media, 22-23. 24. McLuhan, The Mechanical Bride: The Folklore ofIndustrial Man (New York: Vanguard, 1951),3. 25. A systematic analysis of video games and why they have become so popular is the one by Diane Carr, David Buckingham, Andrew Burn, and Gareth Schott, Computer Games: Text, Narrative and Play (Cambridge: Polity Press, 2006). 26. Gary Alan Fine, Shared Fantasy: Role-Playing Games as Social Worlds (Chi• cago: University of Chicago Press, 1983). 27. Steven Johnson, Everything Bad Is Good for You: How Today's Popular Culture Is Actually Making Us Smarter (New York: Riverside Books, 2005). 28. Bob Stein, "We Could be Better Ancestors Than This: Ethics and First Prin• ciples for the Art of the Digital Age," in The Digital Dialectic: New Essays on New Media, ed. Peter Lunenfeld (Cambridge, MA: MIT, 1999),204.

CHAPTER 5

1. Hans Biedermann, Dictionary of Symbolism (London: Meridian, 1992), 302. 2. Amelia Wilson, The Devil (Hauppauge, NY: Barron's Educational Series, 2002). 3. Ibid., 114. 4. Ibid., 282-83. 5. Chuck Chrisfulli and Kyra Thomson, Go to Hell: A Heated History of the Underworld (New York: Simon and Schuster, 2005), 194. 6. Ibid., 214-15. 7. Gary Lachman, Turn Off Your Mind: The Mystic Sixties and the Dark Side of the Age ofAquarius (New York: Disinformation Books, 2001). 172 NOTES

8. Ibid., 396-97. 9. Simon During, Modern Enchantments: The Cultural Power of Secular Magic (Cambridge, MA: Harvard University Press, 2002). 10. Ted Greenwald, Rock & Roll (New York: Friedman, 1992),53. 11. Robin Wood, Hollywood from Vietnam to Reagan (New York: Columbia Uni• versity Press, 1979),23. 12. David Cronenberg, Cronenberg on Cronenberg (London: Faber and Faber), 19. 13. A good account of psychoanalytic theories of horror srories is the one by Mikita Brottman, High Theory/Low Culture (New York: Palgrave Macmillan, 2005), 107-38. 14. Joshua Gee, Encyclopedia Horrifica (New York: Scholastic, 2007), 29. 15. See Linda Sonntag, Seduction through the Ages (London: Octopus, 2001), 120-24. 16. Ibid., 123. 17. Tony Horne, Children of the Night: Of Vampires and Vampirism (London: Indigo, 1999). 18. A good analysis of goth lifestyle is the one by Paul Hodhinson, Goth: Iden• tity, Style and Subculture (New York: Oxford University Press, 2002). 19. Dick Hebdige, Subculture: The Meaning ofStyle (London: Routledge, 1979), 102. 20. These, and other perspectives of the UFO phenomenon, are discussed insightfully in an interesting collection of studies in Debbora Battaglia, ed., E. T. Culture: Anthropology in Outer Spaces (Durham, NC: Duke University Press, 2005). 21. Allan J. Gedalof, Jonathan Boulter, Joel Faflak, and Cameron McFarlane, eds., Cultural Subjects: A Popular Culture Reader (Toronto: Nelson, 2005), 282. 22. An example of this point of view is found in Barbara Creed, "Horror and the Monstrous-Feminine: An Imaginary Abjection," in Cultural Subjects: A Popular Culture Reader, ed. Allan J. Gedalof, Jonathan Boulter, Joel Faflak, and Cameron McFarlane (Toronto: Nelson, 2005), 303-17. 23. Oscar Wilde, The Picture ofDorian Gray (London: Penguin, 1892),234. 24. See Jean Baudrillard, Simulations (New York: Semiotexte, 1983). 25. George Gerbner, "Epilogue: Advancing on the Path of Righteousness (Maybe)," in Cultivation Analysis: New Directions in Media Effects Research, ed. Nancy Signorielli and Michael Morgan (Newbury Park, CA: Sage, 1990),261. 26. Rennay Craats, Alien Encounters: Strange Events and Unexplained Phenomena (Canmore: Altitude, 2006), 141-42. 27. A comprehensive treatment of number symbolism is the one by Miranda Lundy, Sacred Number: The Secret Qualities ofQuantities (New York: Walker, 2005). NOTES 173

CHAPTER 6

1. Brian Wilson Key, The Age ofManipulation (New York: Henry Holt, 1989), 13. 2. See Theodor Adorno, Philosophy ofModern Music (Minneapolis: University of Minnesota Press, 1949). 3. Brenda Downes and Steve Miller, Media Studies (London: Hodder, 1998), 25. 4. Frank R. Leavis and Denys Thompson, Culture and Environment (Westport, CT: Greenwood, 1933). 5. Downes and Miller, Media Studies, 27. 6. John Lough, "The Analysis of Popular Culture," in The Media Book, ed. Chris Newbold, Oliver Boyd-Barrett, and Hilde Van Den BuIck (London: Arnold, 2002), 219. 7. Paul Lazarsfeld, The People's Choice (New York: Columbia University Press, 1948). 8. See, for instance, George Gerbner, Larry Gross, Michael Morgan, and Nicole Signorielli, "The Mainstreaming of America: Violence Profile No. 11," Jour• nalofCommunication 30 (1980): 10-29. 9. See, for example, Elihu Katz and Paul F. Lazarsfeld, Personal Influence: The Part Played by People in the Flow ofMass Communication (Glencoe, IL: Free Press, 1955). 10. Dennis McQuail, Towards a Sociology ofMass Communication (New York: Collier-Macmillan, 1969). 11. See, for example, Stuart Hall, Dorothy Hobsen, Andrew Lowe, and Paul Willis, eds., Culture, Media, Language (London: Hutchison, 1980). 12. Downes and Miller, Media Studies, 104. 13. A good overall account of reception theory work is the one by Janet Staiger, Media Reception Studies (New York: New York University Press, 2005). 14. Beatrice K. Otto, Fools Are Everywhere: The Court Jester around the World (Chicago: University of Chicago Press, 2007). For interesting discussions of the origins of laughter and both its universal and culture-specific dimen• sions, see Jim Holt, Stop Me IfYouve Heard This: A History and Philosophy of Jokes (New York: Norton, 2008); and John R. Clarke, Looking at Laughter: Humor, Power, and Transgression in Roman Visual Culture, 100 BC-AD 250 (Berkeley: University of California Press, 2008). 15. Dennis Fingeroth, Superman on the Couch: What Superheroes Really Tell Us about Ourselves and Our Society (New York: Continuum, 2004), 178. 16. Joseph L. Henderson, "Ancient Myths and Modern Man," in Man and His Symbols, ed. Carl G. Jung (New York: Dell, 1964), 146. 17. Margaret Leroy, Some Girls Do: Why Women Do and Don't Make the First Move (London: Harper Collins, 1997). 18. Richard Klein, Cigarettes Are Sublime (Durham, NC: Duke University Press, 1994). 174 NOTES

19. Allan M. Brandt, The Cigarette Century: The Rise, Fall, and Deadly Persistence o/the Product that DefinedAmerica (New York: Basic Books, 2007). 20. Northrop Frye, Anatomy o/Criticism (Princeton, NJ: Princeton University Press, 1957),43. 21. Linda M. ScOtt, Fresh Lipstick: Redressing Fashion and Feminism (New York: Palgrave Macmillan, 2005), 167. INDEX

Abley, Mark, 89, 170 Berger, Arthur Asa, 13, 20, 46, 51, 52, 76, Adamic, Lada A., 170 166, 168, 169 Adonis, 36 Bewitched, 26 Adorno, Theodor, 19, 145, 173 Bible, 33, 43, 112, 137 advertising, IS, 24, 33, 50, 53, 58, 59, 62, 63, Biederman, Hans, 112, 171 67, 68, 69, 70, 71, 72, 76, 77, 78, 80, Big Lebowski, The, 92 81,82, 161, 162 Blackledge, Catherine, 32, 167 Aguilera, Christina, 54, 55 Blade Runner, 51 alchemy, 6 Blank, Hanne, 40, 167 Alice Cooper, 14, 119, 124 Boorstin, Daniel, 62, 168 Alien, 51, 127 Botterill, Jacqueline, 68, 71, 80, 169 All Fools Day, II Bottomore, Tom, 166 Allen, Woody, 109, 120, 121 Boulter, Jonathan, 133, 172 alphabet, 9,10,14,15,59,73,86,106 branding, 76, 77, 78, 79, 80, 81,136 alphanumeric brand names, Ill, 136, 137 brands, 17,59,61,66,67,72,73,74,76,77, Amadeus, 3, 96,145, 150 78,79,80,84,112 Brandt, Allan, M., 173 anti-Americanism, 5, 68 Bratz dolls, 48 Aphrodite, 36, 48, 53 Brave New World, 110, 135 Apple logo, 63-64 bricolage, 130 archetype, 36, 45, 60, 64, 65, 66, 67, 75,114, Brighella, 12 122 Brottman, Mikita, 172 Arden, Elizabeth, 42 Brown, Dan, 36, 37 Aristotle, 13 Browning, Elizabeth Barrett, 56, 168 Arlecchino, 12 Browning, Tod, 127 Arnold, Matthew, 17, 18, 160, 167 Bruce, Lennie, 93 Aronofsky, Darren, 138 Btyman, Alan E., 68, 169 astrology, 6 Buckingham, David, 171 astronomy, 6 Budweiser, 72 Athena, 57, 58 Bugs Bunny, 22, 23, 141, 164 automobiles, 24, 25 Burn, Andrew, 171 Back to Methuselah, 34 Burns, Lori, 168 Buszek, Marina E., 39, 167 Baker, Norma Jean, 46 Byron, Lord, 57 Bakhtin, Mikhail, 11, 13, 151, 166 Ball, Lucille, 25 caduceus, 62 Ballard, James Graham, 82, 170 Cage, John, 24 Band Wtzgon, The, 142 Cantril, Hadley, 148 Barbie dolls, 47, 48 caricature, 12 Barnum, P. T., 72, 76, 77, 125 carnival, 11, 13, 14,26,151,152 Baron, Naomi, S., 87, 88, 170 carnivalesque, 11, 12, 13, 14, 22, 24, 28, 39, Barthes, Roland, 4,5,20,21, 158, 166 71,72,84,90,92,94,95,96,103,109, Basic Instinct, 34, 41, 50 119,122,123,124,126,133 Battaglia, Debbora, 172 Carpenter, John, 127 Baudrillard, Jean, 133, 172 Carr, Diane, 171 Beach Boys, 25 Cartesian dualism, II Beatles, 22, 122 Cassirer, Ernst, 3 Benjamin, Walter, 20, 151 catharsis, 20, 117 176 INDEX

Centre for Contemporary Cultural Studies, Dottore, II, 12 147 Downes, Brenda, 146, 149, 173 Certeau, Michel de, 70, 169 Dracula, 128 Cervantes, Miguel de, 8 Du Maurier, Daphne, 43 Charleston, 2, 4, 20, 22, 145 dual symbolism, 33-40 Charlie's Angels, 26 Duchane, Sangeet, 45, 168 chemistry, 6 Dude, Where's My Car? 92 Chicago, 2, 37, 38, 39, 49,53,155,156 During, Simon, 123, 171 chick flick, 43 chick speak, 97 Early, Gerald, 45, 168 Childe Harold's Pilgrimage, 57 Eastwood, Clint, 113 Chrisfulli, Chuck, ll9, 171 Eban, Abba, 69, 169 ChuckD,100 Eco, Umberto, 12 Churchill, Winston, 32 Ed Sullivan Show, 26 Ciceto,86 Egoyan, Atom, 152 Cinderella, 42, 44, 45 Eminem, 14,94 circus, ix, 42, 68, 72, ll4, 121, 127, 151, 156 Enlightenment, 6, 106 Clarke, John R., 173 Enseler, Eve, 40 clowns, 11, 12,38,68 epicureanism, 1, 6 Clueless, 97 Epicurus, 1 Coca-Cola campaigns, 78, 79, 80, 81 Erasmus, Desiderius, 35 Cohen, Stan, 25, 26, 167 Eve,33,34,35,36,39,49,52,56,63,64 Coleridge, Samuel, 29 Exorcist, The, 127 comedians, ll, 12,93,151,152 Exotica, 152 comedy, 12, 13, 18,49,72,92,93, 113, 152, 156 Faflak, Joel, 133, 172 Commedia dell'Arte, 12,38,76,90,91, 144 fashion, 4, 18, 24, 25, 33, 47, 50, 57, 124, Conley, Craig, 10 145, 156 Contad, Joseph, 7 Fast Times at Ridgemont High, 92 Cook, Vivian, 88, 99, 100, 102, 103, 104, Father Knows Best, 27 170,171 Faust, 34, 119 cosmetics, 42 female body, 37-40 Coupland, Douglas, 8, 9 Female Eunuch, The, 55 Craats, Rennay, 136, 172 feminine form, 48-53 Creed, Barbara, 172 feminism, 27, 28, 39, 44, 56 Cretans, 14 Femme est une ftmme, Une, 49 Cronenberg, David, 125, 126, 172 femme fatale, 33, 34, 53 ctosses, 10 fetish, 82 Crouching Tiger, Hidden Dragon, 37 Fibonacci Sequence, 139 cryptography, III Fincher, David, 113 Crystal, David, 84, 85, 170 Fine, Gary Alan, 108, 171 culture levels, 17-18 Fingeroth, Dennis, 153, 173 Cummings, Edward Estlin, 103 flappers, 2, 14, 33, 38 cyberspace, 79, 84, 86, 89, 109 fools, 11, 152 Forbes, Bryan, 49 Daffy Duck, 141, 142, 145, 163, 164 Frankel, Alex, 77, 169 Davenport, Guy, 168 Frankenstein, 126, 135 Da Vinci Code, The, 36 Frankfurt School, 19,20,69,81,145,160 Davis, Betty, 34 freaks, ll, 109, ll3, 122, 125, 127, 133 Day the Earth Caught Fire, The, 66 Freudian psychoanalysis, 11 Deconstructing Harry, 120, 121 Frye, Northrop, 159, 173 Deep Throat, vii, viii, 27,159,160 Delilah, 33, 34, 35 Gaia, 33, 34 Denzin, Norman K., 168 Gedalof, Allan J., 133, 172 devil, ll8, ll9, 120 Gee, Joshua, 172 Diana, 48, 53 Gelder, Ken, 28, 167 Dirrty, 54, 55 Generation X, 8 Disney, Walt, 44, 45, 66, 67, 77, 96,125,159 Genesis, 63 dolls, 47-48 GenX, 9,159 Don Quixote, 8 geometric logos, 73-76 INDEX 177

Gerbner. George. 134. 149. 172. 173 i-Language. 84. 85. 86, 87, 88, 89, 90, 92, 95, Gibson. William. 86 98,99,104,111 Gilda. 41 I Love Lucy, 25, 27 glissage. 126 indie culture, 89 global village. 19 Inside Deep Throat, 27 Godard. Jean-Luc. 24. 49. 50. 154 Internet, 64, 79, 83, 84, 86, 87, 88, 89, 99, Goethe. Wolfgang von. 34. 129 104, 106, 107, 109, 155, 163 golden arches logo. 67 i-Power, 83, 84, 85, 87, 89, 91, 93, 95, 97, Golden Slipper. The. 42 99, 101, 103, 104, 105, 107, 108, 109, Gone with the Wind. 43 110, 157 goth. ix. 14. 109. 118. 128. 129. 130. 131 Isis, 35, 36 Gothic genre. 126 Ives, Peter, 166 Gramsci. Antonio. 19. 145. 146. 166 i-World,83 Grazer. Brian. 27 izzte talk, 98 Greenwald. Ted. 123. 172 Jackson, Janet, 26 Greer. Germaine. 55. 168 Jackson, Michael, 96,124, 127, 144 Gtoss. Larry. 173 Jameson, Frederic, 23, 24 Hall. Stuart. 149. 150. 173 Janoff, Rob, 63 Hamilton. Richard. 71 jazz, 4, 22, 38, 41, 96, 156 happening. 17 jester, 11, 152 Hardwick, Elizabeth. 93, 170 Jezebel. 34, 50 Harry Potter, 73,82, 144 Jhally, Sut, 68. 71, 80, 169 Hartzman, Marc. 167 Johns, Jasper. 71 Havel, Vaclav, 23 Johnson, Steven, 108, 109. 171 Hayworth, Rita, 41 jongleur, 11 Hebdige, Dick, 130, 172 Joyce, James, 8, 34, 103, 105 hegemony, 19,20,145,146 Jung, Carl, 35, 64, 122, 152. 169 Helen of Troy, 33 Kafka. Franz. 133 hell, 118, 119, 120 Katz, Elihu, 148, 149, 173 Hellboy, 121 Kendrick, Walter, 28. 167 Henderson. Joseph 1., 153, 173 Key, Brian Wilson. 145, 173 Hermes, 14, 62 Kill Bill, 9 hieroglyph, 14, 35. 73, 106, 163 King Kong, 125 hip-hop, 4, 20, 72, 96 King. Stephen, 127 hip ness, 22, 23, 24 Kiss, 14, 124 Hitchcock,AJfi'ed, 113, 114.115, 116, 117 Klein, Naomi, 15, 166, 169 Hitchcock's movies. 115 Klein. Richard, 154. 173 Hobsen, Dorothy, 173 Kline. Stephen, 68, 71, 80, 169 Hodhinson. Paul, 172 Kolsbum, Ken, 169 Hoffman, Barry. 71. 72. 168 Kroc, Raykond A., 67 Haggart, Richard, 20 Kubla Khan, 29 Hal/aback Girl, 94, 95 Kundera, Milan, 16, 167, 168 Holt. Jim, 173 Honeymooners, The, 27 Lacan, Jacques, 126 hooks. bell, 45, 46, 168 Lachman, Gary, 122, 123, 131, 132, 135, 171 Horkheimer, Max, 19 Lafrance. Melissa. 168 Horne, Tony, 129, 172 Lara Croft, 37 horror genre, 4, 28,107, 113, 125, 126, 127. Laroche, Paula, 91, 92, 170 129,133,135,137 Last American Virgin, The. 40 Huberman, Bernardo A., 170 Laugh-In, 26 Hula-Hoop, ix, 78, 144 laughter, 2, 11, 12, 13, 72, 91. 92. 142. 151, Huxley, Aldous, 110, 135 152 hypodermic needle theory, 148 Lauten, Ralph, 65 Lazarsfeld, Paul, 147. 148, 173 IBM logo, 64 Le Clezio, Jean Marie Gustav, 70 id, 11 Le Guin, Ursula K., 57, 168 ideal forms, 75, 76 Leavis, Frank R., 18, 146, 173 ideograph, 14,59,74 Lefebvre, Henri, 68. 69, 70. 169 178 INDEX

Leffel, Tim, 169 Miller, Steve, 146, 149, 173 Leiss, William, 68, 71, 80, 169 Minelli, Vincent, 142 Leland, John, 22, 166 Mirandola, Giovanni Pico della, 6 Leoncavallo, Ruggero, 38 Miss America contest, 45 Leroy, Margaret, 154, 173 misspellings, 97, 98, 99, 100, 101, 102 Levi-Strauss, Claude, 157 mockery, 11, 13, 14,25,26,46,99, 100, 109, Lichtenstein, Roy, 71 119,124,127,152 Lit Folks, 21, 159 Monroe, Marilyn, 17,46,51,143 Lilith, 33, 34, 36, 38, 39, 49, 56 moral panic theory, 25, 26, 33, 41, 48, 108, Little Deuce Coup, 25 146,159,160 Little Mermaid, The, 44, 45 More, Sir Thomas, 135 LLCooIJ,96 Morgan, Michael, 173 Lodger, The, 113 Mourby, Adrian, 88, 170 logical symbol, ix, 5, 6 Murnau, F. W., 126 logo, 14, 15,24,26,58,59,60,61-63,65,66 My Heart Belongs to Daddy, 47 logo culture, 65, 66 mythic symbol, ix, 5,6,33,60,63,69,73,74, Logo-Power, 59, 60, 61, 63, 65, 66, 67, 68, 69, 114,142,151 70,71,72,73,75,77,79,81,82,157 Myth-Power, 157, 158 Looney Tunes, 141 Nabu, 14 Lost, 138, 139, 140 Name ofthe Rose, The, 12 Lough, John, 16, 147, 166, 173 Nathan, Debbie, 28, 167 Lowe, Andrew, J 73 Nedingo, 84, 85 Lundy, Miranda, 172 Neumeier, Marry, 61, 168 Mac 1984 commercial, 51-52 Neuromancer, 86 Mac Guy versus PC Guy, 63, 83 Nickell, Joe, 167 Madonna (pop stat), 26, 28, 33, 46, 53, 95, Nike logo, 65 159 Nixon, Richard, vii, 25 Madonna, The, 33, 37 No Logo, 15 Magdalene, Mary, 36, 45, 137 Nolan, Christopher, 116 magic bullet theory, 148 Nolan, Jonathan, 116 Malinowski, Bronislaw, 144 nostalgia, 158, 159 Manhunter, 114 N-Power, Ill, 113, 115, 117, 119, 121, 123, Manson, Marilyn, 14, 118, 124 125, 127, 129, 131, 133, 135, 136, 137, Man Who Broke Out ofthe Letter X The, 9 138, 139, 157 Matcuse, Herbert, 20, 81, 169 numeration, 6 Mardi Gras, 11 numerology, 6, 111, 112, 123, 136, 138 Marilyn Manson, 14, 118, 124 NYPD Blue, 26 Marquis de Sade, 10 O'Brien, Susie, 17, 166 Married Virgin, The, 39 occultism, 113, 114 Marxist theory, 19, 20, 21, 146, 147, 148, Oliver, Richard, 169 160 opera, 18,22,146,150 Mary Jane's Not a Virgin Anymore, 40 Original Dixieland Jazz Band, 41 mass sociery thesis, 17 Orwell, George, 51, 52, 110, 135 Mayan symbol, 74 Osiris, 35, 36 McDonaidization, 68 Otto, Beatrice, 152, 173 McDonald's, 59, 67, 68, 79, 162 McFarlane, Cameron, 133, 172 Paglia, Camille, 27, 167 McLuhan, Marshall, 19, 84, 85, 104, 105, Pagliacci, 38 106,166,171 Pagliaccio, 12 McQuail, Dennis, 149, 173 Pandora, 35 Mean Girls, 97 Pantalone, 12 Memento, 116, 117 Pastor, Tony, 43 Mercedes Benz logo, 74, 75 peace symbol, 66 Mercury, 62 Peanuts, 21, 159 Metamorphosis, 133 Peiss, Kathy, 42, 167 Mickey Mouse, 66, 67 Peril, Lynn, 39, 167 Mickey Mouse logo, 67 Peter Pan, 96 Mignola, Mike, 121 phallophor, 11, 151 Miles, Barry, 169 Phoenicians, 9, 15 INDEX 179

Picasso, Pablo, 60, 105, 168 Ronald McDonald clown, 68 pictography, 5, 14,73,81, 105 Room of Ones Own, A, 50 Pi: Faith in Chaos, 138 Roots, 26 Pink,55 Rossi, William, 42, 167 Pinsky, Mark 1., 44, 168 Roy, Marina, 8, 9, 16, 166 placement branding, 76, 77, 78 Rubinstein, Helena, 42 Plato, 75 Runnin' Wild, 2 Playboy logo, 50-51 Poe, Edgar Allan, 114 Sacks, David, 83, 170 polo horseman logo, 65 sacred, 1,2, 5,6, 10, 11, 14, 15, 18,29,40, pop art, 17,70,71 41, 49, 62, 66, 76, 112, 114, 142, 152, pop culture, viii, ix, 2, 3, 4, 5, 6, 7, 13, 14, 153,160 16-29, 33, 34, 36, 37, 38, 39, 40, 42, sacred feminine, 31, 36, 43, 45 46--48, 50, 53, 54, 56, 57, 58, 59, 72, Salinger, J. D., ix 73,76,77,78, 84, 89, 91, 95, 96, 101, Salome, 33, 43 103, 105, 106, 107-8, 109, 113, 114, Salome's dance, 43 118, 121, 122, 127, 129, 134, 136, 138, samekh,9 142, 143, 144, 151, 152, 153, 154, 155, Samson, 35 156, 157, 15~ 159, 160, 161, 162, 163 Saturnalia, 11, 151, 162 pop language, 95,96 sauvastika, 10 pornography, vii, viii, 27, 28, 36,121, 147, 148 Savan, Leslie, 95, 96, 170 Porter, Cole, 47 Schlosser, Eric, 68, 169 Possamai, Adam, 168 Schott, Gareth, 171 postfeminism, 28, 44 Schultz, Charles, 21, 159 postmodernism, 23, 24, 131 Schumpeter, Joseph A., 21, 166 Presley, Elvis, 25, 26, 144, 159 Scott, Linda M., 38, 39,162,167,174 Priest, Robert, 9 Scott, Ridley, 51, 52, 127 product characters, 78 Screens peak, 97 product logos, 59-60 Secret Agent, 7 products named with V; 50 Seinfeld, 26 products named with X, 7 Sex & the Psyche, 28 profane, 1,2,5,6, 10, 11, 14, 15, 16, 18, 19, sexism, 40 20,29,41,49, 59, 114, 142, 144, 151, sexuality, 2, 7, 18, 25, 27, 28, 32, 33, 35, 36, 152, 153, 159, 160 38,39,40,41,42,46, 53, 54, 55, 129, Prohibition, 2 151, 152, 154, 156, 162 Project Gutenberg, 90 sexual symbols, 5 Prometheus, 35 Sgt. Peppers Lonely Hearts Club Band, 22 Pulcinella, 12 Shaffer, Peter, 96, 97, 170 pulp fiction, 4,117,125,145 Shaw, George Bernard, 34 Pulp Fiction, 9, 117 Shelley, Mary, 126, 135 punk, 13, 14,25,130,131,159 shopping, 81 Puritanism, vii, 2, 3, 18,25,39, 155 Shop 'Til You Drop, 76 Pussycat Dolls, 25 Shteir, Rachel, 41, 167 Pynchon, Thomas, 50, 168 Siddhartha, 153 Pythagoras, 112, 113, 137, 140 sideshows, ix, 28, 42,109,113,114,121, 125, 167 rap, 14,22,25,26,38,45,46,48,94,98,99, Sign after the X, 8 100, 101, 118 Signorielli, Nicole, 173 Rauschenberg, Robert, 71 Silence ofthe Lambs, 114 Reagan, Ronald, vii, 25 Silly Putty, 78 reception theory, 149 Simpsons, The, 3, 9, 150 Reitman, Jason, 154 Sims, Michael, 41, 167 Renaissance, 6, 106, 114 simulacrum, 133, 134 Return to Neverland, 96 slang, 90, 91, 92, 93 reverse branding, 78 Sleeper, 109 Ritzer, George, 68 Sleeping Beauty, 44, 45 Roaring Twenties, 2,18,38,53,81,106,155, Slinky, 78 156, 162 Smith, Clarissa, 40, 167 Rocky Horror Picture Show, The, 123, 124, 125, Snoop Dogg, 98 126, 129, 131, 152 Snow White and the Seven Dwarfi, 44, 45 180 INDEX

Sondheim, Stephen, 4 Ulysses, 8 Sonntag, Linda, 129, 172 South Park, 13, 119, 120, 121, 152 V, 31, 32, 33, 35, 36,50,51,53,56,58,61, Spears, Britney, 26, 95, 144 167 spectacle, 28, 45 V-Age, 54, 55, 64 Spectacle-Power, 141, 143, 145, 147, 149, Vttgina Monologues, The, 40 151,152,155,157,163 vampires, 128, 129, 130 Spice Girls, 32 variety show, 42, 43, 156 Star of David symbol, 74 vaudeville, 2, 42, 43, 114, 155, 156 Star Trek, 32 V-Day, 40 Stefani, Gwen, 94, 95 Venus, 32, 33,41,42,48, 50 Stein, Bob, 110, 171 Verdi, Giuseppe, 150 Stencell, A. w., 167 Verne, Jules, 126, 135 StepJord Wt"ves, The, 49, 50 Vestal virgins, 40 Stoker, Bram, 128 Videodrome, 125 Stone, Sharon, 41 video games, 106, 107, 108 Storey, John, 18, 166 Virgin and the Gypsy, The, 40 Story ofV, The, 32 virginity, 39 Strinati, Dominic, 166 Virgin Paradise, A, 39 striptease, 33, 41, 43, 50 Virgin Sacrifice, 40 Striptease: The Untold History of the Girlie Virgin School, 40 Show, 41 Virgin Suicides, The, 40 Stupid Girl, 55 Virgo, 32, 33 subversion, 13, 14,41,94,98,99, 101, 154 voyeurism, 28, 124 Sumerians, 14 V-Power, 31, 33, 34, 35, 36, 37, 38, 39, 40, superego, 11 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, Survivor, 26 51, 52, 53, 55, 56, 57-58, 59, 66, 94, swastika, 10 95,112,156,157,162 Sweeney, Michael S., 169 Wachal, Robert S., 94, 170 symbolism, ix, 3, 5, 6, 14, 15,23,32,33,60, Walker, C. J., 42 64, 69, 73, 74, 75, 81, 82, 104, Ill, Walpurgis Night, 34 112,114,122,124,129,137,142,151 Warhol, Andy, 17,70,71 Szemanaptly,Imre, 17, 166 War ofthe Worlds, The, 148 tachygraphy, 86 Weber, Max, 76, 169 Tarantino, Quentin, 9,117 Webkinz,79 technology, 19,25,80,84,90, 104, 105, 106, Webster, Noah, 103 109, 135, 155 Wells, H. G., 148 television, 19,26,37,59,70, 106, 149, 161 werewolves, 127, 128 Thank You Jor Smoking, 154 White Album, The, 22 theater of the profane, 18, 26, 43, 45, 90, 103, Whitley, Sheila, 168 108, 109, 129, 143 Wiene, Robert, 126 theories of pop culture, 17-28, 144-51 Wilde, Oscar, 133, 172 Thomas, Gregory, 74, 169 Williams, Raymond, 20, 21,166 Thompson, Denys, 173 Willis, Paul, 173 Thompson, E. P., 20 Wilson, Amelia, 118, 171 Thompson, Kenneth, 170 Wise Virgin, The, 39 Thomson, Kyra, 119, 171 Wood, Robin, 125, 172 Thornbirds, 43 Woolf, Virginia, 50, 168 thriller, 115, 116, 117 X, viii, 3, 5, 6, 7, 8, 9,10,14,15,16,21,25,29, Toth, 14 33,58,61,65,84,102,103,142,160 trademark, 51, 52 X-Files, 9, 132, 133, 136 transgression, 14,25,26, 104, 124, 152, 153, X-Power, 3, 7,14-16,29,43,58,59,103, 157 154, 160 X-rated, vii, viii, 3, 25,159,160 Turner, Graeme, 166 Twain, Mark, 122 yin and yang, 11 Twinn, Francesca, 28, 167 Twitchell, James, 26, 166, 169 Zeus, 14,35, 57,62,65, 127, 128 Zipf, George Kingsley, 87, 88, 170 UFO movies and programs, 132, 133 Zipf's Law, 88, 170 UFOs, 131, 132, 133, 134, 135, 136 Zodiac killer, 113, 114