Notes

Introduction

1. In many respects, Blaine’s London feat is part of that shift. Whereas his entombment in ice in New York in 2000 prompted a media focus on his pun- ishing preparations (see Anonymous 2000, 17; Gordon 2000a, 11 and 2000b, 17), his time in the box brought much ridicule and various attempts to make the experience more intense, for instance a man beating a drum to deprive Blaine of sleep and a ‘flash mob’ tormenting him with hamburgers. 2. For some artists, is fundamental to the performance, but uses local anaesthetic, as he considers the end effect more important than the pain. 3. BDSM is regarded by many as less pejorative than ; others choose S&M, S/M and SM. Throughout the book I retain each author’s appel- lation but see them fitting into the overarching concept of BDSM. 4. Within the BDSM scene there are specific distinctions and pairings of tops/ bottoms, Doms/subs and Masters/slaves, with increasing levels of control of the latter in each pairing by the former; for instance, a bottom will be the ‘receiver’ or takes the ‘passive’ part in a scene, whilst a sub will surrender control of part of their life to their Dominant. For the purposes of this book, I use the terms top and bottom (except when citing opinions of others) to suggest the respec- tive positions as I am mostly referring to broader notions of control. 5. Stressing its performative qualities, the term ‘scene’ is frequently used for the engagement in actual BDSM acts; others choose the term ‘’, which as well as stressing its separation from the real has the advantage of indicating it is governed by predetermined rules. 6. The exception is Tattoo (1981).

1 Situating the Controlled Body

1. Three Essays on the Theory of Sexuality underwent changes in a succession of editions during the next twenty years. 2. See Sigmund Freud, Beyond the Pleasure Principle (1955) and Jacques Lacan, Écrits: A Selection (1977). 3. Brown (2002) has made a similar case for Mel Gibson. 4. The increased interest in anatomy fused with art is demonstrated by such television documentaries as Raiders of the Human Body (1998), Anatomy of Disgust – part three (2000) and The Anatomists (2002).

2 Bondage and Discipline, , and Sadomasochism (BDSM) at the Movies

1. Hereafter, I shall refer to the film as Sick. 2. The Kinkies are deemed to begin with White Slaves of Chinatown (1964).

199 200 Notes

3. The German film Verfolgt/Hounded (2006) offers a version of this with a mid- dle-aged female probation officer and her young male charge. 4. Snuff films are defined as depicting the actual killing of a human, and in com- mon parlance, usually refer to films explicitly made to show that killing, espe- cially those that appear to begin as a standard porn film, but then the person having sex (usually a woman) is suddenly killed. 5. 8mm even reworks a line from Hardcore into its tagline ‘Some doors should never be opened.’ 6. It was finally passed with no cuts in 2009. 7. Bob had previously used the wordplay for his show ’s Sick (1991). 8. If indicated in the film, I have provided dates for the individual works of art shown in Sick. 9. Bob’s interest in the ‘saintliness’ of suffering is evident in his published com- ments too: ‘I think I related my suffering and illness to the suffering of Jesus on the cross – the idea that suffering in some way was kind of holy’ (Flanagan in Juno and Vale 1993, 13).

3 Body Modification: Beauty and the Pleasures of the Modifiable Flesh

1. Later in the film a character describes Karl’s work as ‘a little bit of needle, a little bit of dick’. 2. Mascia-Lees and Sharpe offer a different reading of Tanizaki’s story: ‘To the male artist her tattoo is not a mutilation, but a concretization of the hidden message of her body: for him it reveals her true nature as evil and destructive to men. But the woman experiences herself as horribly transfigured’ (1992b, 148). Such a divergent reading I find difficult to achieve when Tanizaki states: ‘A song of triumph was ringing in her ears’ (1963, 169). 3. In contrast, it is stressed that Karl must paint not tattoo the fashion models. The erotic appeal of the refigurement is still present, with Maddy’s boyfriend suggesting she does not wash afterwards, but should ‘save it for tonight’. 4. The relationship of body modification to self-image is vital, thus Memento, The Illustrated Man and Tattoo feature the protagonist in front of a mirror, thereby enabling the spectator to see the change, and the subject reacting to the change. 5. For example, Signatures of the Soul (1984), Fakir Musafar’s Sun Dance ritual in Dances Sacred and Profane (1985) and Charles Gatewood’s Tattoo, San Francisco (1988). Richard Harris had also earlier provided a simulated and inaccurate form of Sun Dance in A Man Called Horse (1970). 6. In Tattoo, Karl’s minor tick is that he will only hold a public telephone with a cloth. 7. Although blatantly resembling the Grecian art object, it is noteworthy that it has its lower legs missing, thus creating a greater similarity to the boxed Helena. 8. A Zed and Two Noughts (1985) previously made the link with characters refer- ring to a woman with no legs as Venus de Milo. However, Moju/Blind Beast (1969) is closer to the essence of Boxing Helena, with an artist eventually sev- ering both arms and both legs of a captive woman, his action prompting the reciprocal destruction of the statue he had made of her. Notes 201

9. This state is perhaps best described as what is termed grace in women, or the effortlessness of a ballerina, but I find no comparable category in art, although there remains a clear distinction between the artist (effort) and the created work (beauty). 10. The animation was modelled on a web-based story called ‘The Adventures of Beverlee’, which was created by Kim Barreda, a double amputee. She origi- nally used Barbie dolls, a decision prompted by Mattel releasing in 1997 a disabled figure called ‘Share a Smile Becky’ whose wheelchair was too big to fit into Barbie’s car and her house: a telling oversight. 11. For a summary of the problems Crash faced in the see Kermode and Petley (1997) and Petley (2011, 115–28). 12. Fashion model Padma Lakshmi experienced similar sentiments in respect of her car crash injuries. She proclaims ‘I … knew my scar was a symbol of my survival’ (Lakshmi 2001, 55), but underwent painful chemical dermabrasion to reduce the dark pigment of her scar tissue, to which photographer Helmut Newton shrieked, ‘You’ve ruined the beauty of it’ (in Lakshmi 2001, 57). 13. The bullet wound is the exception; these recent breaks in the skin have been fetishized, especially through women tending the injury, but the eroticism is discreet. 14. David Cronenberg acknowledges this scene refers to contemporary debates regarding and self-mutilation (in Rodley 1997, 200). 15. Traditionally the top or Dom was not marked, but this is not always the case. 16. Forensic psychologist Dr Paul Britton later claimed the BBFC misrepresented him (see Kermode and Petley 1997, 18), but my point remains, as the state- ment was issued with the intention of justifying the release of Crash.

4 Aestheticized Pain and the Artistic Serial Killer

1. Douglas has been seen as the inspiration for Jack Crawford in Harris’s books. 2. The term ‘serial murderer’ is said to have first appeared in print in 1966 in John Brophy’s The Meaning of Murder (Newton 2000, 205). 3. The Abominable Dr Phibes (1971), which features deaths in the manner of the ten deadly plagues, has also been compared with Se7en (see Kalat 1999). 4. Souvenirs refer to objects used to supplement the killer’s fantasies, as opposed to trophies, which commemorate the kill. 5. For more information on the artwork of serial killers see Schechter and Everitt (1996, 14–17 and 46–7), Newton (2000, 5–7), and Taubin (1991, 16). 6. For more details, see Imogen O’Rorke (2001, 5) and the television programme ‘A Modern Frankenstein’, part 3 of the series The Anatomists (2002). 7. Gunther von Hagens’s plastinated figures are not dated and this may be to confer on them a status that falls between art and education. 8. A similar scenario operates in Se7en. 9. Lecktor is the spelling used for Lecter in Manhunter. 10. That ‘Air on a G String’ is the more familiar title for the Air from Orchestral Suite No. 3 in D major, indicates it is popular classical music, where the notoriety enforces the classical properties. It functions as the classical music does in Boxing Helena (see Chapter 3). 202 Notes

11. Misteria also features the creation of a body, but from transplanted body parts from one person. Mil gritos tiene la noche/Pieces (1982) is closer to Resurrection, featuring body parts from different bodies being collected and assembled into one figure.

5 Playing with Control

1. Free running involves participants moving through a (usually urban) space via structures to display acrobatic movements such as vaults, flips and rolls; BASE is an acronym for Building, Antennae, Span (bridge), Earth (cliffs), and BASE jumping is an extreme form of skydiving from these fixed objects. 2. Action games usually involve moving a character through a game world by a combination of running, jumping and climbing, with an objective of finding a way through to the next level of the game. Adventure games put a greater emphasis on exploring the world in a search for clues and to solve puzzles. The genres are far from distinct though, with games such as those in the Tomb Raider series (1996–) being categorized as action-adventure. 3. In the interest of clarity, I will refer to the narrator as Jack, but will retain narrator when used by other writers. 4. To avoid confusion, when referring to the specific game experience under- taken in The Game, I will place the word in single quotation marks. 5. Schroeder’s point is valid in the context of the release date of The Game. Although accurate in 1996, the situation is no longer so pronounced, not least because of massively multi-player online games, where the game milieu continues regardless of interaction. 6. The sense of ‘deviancy’ is heightened when you know that Captain Kangaroo was the host of a children’s television show that ran on CBS from 1955 to 1984. 7. Seymour Butts is the well-known pseudonym of pornography filmmaker Adam Glasser. 8. Brookey and Westerfelhaus base their study on the US release of the DVD. 9. We should also note the resurrection context of Jack commenting, ‘Every evening, I died. And every evening, I was born again.’ 10. The scene’s sexual tone had already been established by Tyler discussing a woman severing a man’s penis, but the flirtation had actually begun much earlier. When Jack telephones Tyler, Tyler does not answer the phone, but calls back and announces, ‘I star 69’ed you.’ The phrase refers to the call back code equivalent to 1471 used in the United Kingdom, but the com- ment has a pointed link to oral sex. None of these references appear in the novel. 11. Lou’s character does not exist in the novel, but the scene reworks a similar confrontation between Tyler and the president of the projectionist union. 12. Again, Fincher should be acknowledged though for going further than Palahniuk in exploring the personal positives of masochism. When, in the novel, the men are assigned to pick a fight with a stranger and lose, the purpose is to make the winner feel better: ‘The idea is to take some Joe on the street who’s never been in a fight and recruit him. Let him experience winning for the first time in his life’ (Palahniuk 1997, 119–20). Notes 203

6 Choosing Torture Instead of Submission

1. When released on home media, the seventh instalment in the series, Saw 3D (2010), was billed as Saw: The Final Chapter, but rumours persist of an eighth film to be made. 2. The victim even compared the refigurement, which was scarification rather than tattoos, to Prison Break. 3. The film’s extended sequence based on the extreme sport of free running is further example of the fusion of painful pleasures in the decade. 4. See also Gabrielle Murray (2008). By contrast, Pinedo (2009, 8) sees the trend fuelled by the real-life body horror or ‘gore porn’ of online imagery such as executions and car crashes, as discussed by Tait (2008). 5. The definition of passive gore also includes severed limbs and blood splatter so extends beyond the marked and constrained body discussed in preceding chapters. 6. Nonetheless, Hostel contains a homophobic tone, and as with Hostel II, privi- leges the deaths of Americans; although the latter correlates with the films’ themes, we should note the different treatment of the death of the Japanese girl in the first film. Moreover, the film endorses the threat of a worldwide anti-American sentiment. 7. Luke Thompson is writing after only three films had been released. Bibliography

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The Abominable Dr Phibes. Dir. Robert Fuest, UK, 1971. After Hours. Dir. , USA, 1985. Ai no Corrida/In the Realm of the Senses. Dir. Nagisa Oshima, Japan/France, 1976. Aladdin. Dir. Ron Clements and John Musker, USA, 1992. American Beauty. Dir. Sam Mendes, USA, 1999. Anatomie/Anatomy. Dir. Stefan Ruzowitzky, Germany, 2000. ¡Atame!/Tie Me Up! Tie Me Down!. Dir. Pedro Almodóvar, Spain, 1989. Batman Returns. Dir. , USA, 1992. Battle Royale. Dir. Kenji Fukasaku, Japan, 2000. Belle de jour. Dir. Luis Buñuel, France/Italy, 1967. Blowback. Dir. Mark L. Lester, Canada/USA, 1999. Blue Hawaii. Dir. Norman Taurog, USA, 1961. Blue Velvet. Dir. David Lynch, USA, 1986. Body of Evidence. Dir. Uli Edel, USA, 1992. The Bone Collector. Dir. Phillip Noyce, USA, 1999. Bone Daddy. Dir. Mario Azzopardi, USA/Canada, 1998. Boxing Helena. Dir. Jennifer Chambers Lynch, USA, 1993. Braveheart. Dir. Mel Gibson, USA, 1995. A Bucket of Blood. Dir. Roger Corman, USA, 1959. Cape Fear. Dir. Martin Scorsese, USA, 1991. Casino Royale. Dir. Martin Campbell, USA/UK/Czech Republic/Germany, 2006. The Cell. Dir. Tarsem Singh, USA/Germany, 2000. Charlie’s Angels. Dir. McG, USA/Germany, 2000. Circus of Horrors. Dir. Sidney Hayers, UK, 1960. Cliffhanger. Dir. Renny Harlin, USA, 1993. The Collector. Dir. William Wyler, USA/UK, 1965. Coma. Dir. Michael Crichton, USA, 1978. Copycat. Dir. Jon Amiel, USA, 1995. Crash. Dir. David Cronenberg, Canada, 1996. Dances Sacred and Profane. Dir. Dan Jury and Mark Jury, USA, 1985. . Dir. David Cronenberg, Canada, 1988. The Dead Zone. Dir. David Cronenberg, USA, 1983. Death Race 2000. Dir. Paul Bartel, USA, 1975. La decima vittima/The Tenth Victim. Dir. Elio Petri, Italy/France, 1965. De Sade. Dir. Cy Endfield [and Roger Corman (uncredited)], West Germany/USA, 1969. Die Jungfrau und die Peitsche/Eugénie … The Story of Her Journey into Perversion. Dir. Jess Franco, Spain/West Germany/UK, 1970. Donovan’s Reef. Dir. John Ford, USA, 1963. 8mm. Dir. Joel Schumacher, USA, 1999. Elsa Fräulein SS/Fräulein Devil. Dir. Patrice Rohm (aka Mark Stern), Italy/France, 1977. Emanuelle in America. Dir. Joe D’Amato (aka Aristide Massaccesi), Italy, 1976.

217 218 Filmography eXistenZ. Dir. David Cronenberg, UK/Canada, 1999. FearDotCom. Dir. William Malone, UK/Germany/Luxembourg/USA, 2002. Fetishes. Dir. Nick Broomfield, USA/UK, 1996. Fight Club. Dir. David Fincher, USA/Germany, 1999. Flash Gordon. Dir. Frederick Stephani and Ray Taylor, USA, 1936. Freaks. Dir. Tod Browning, USA, 1932. Friday the 13th. Dir. Sean S. Cunningham, USA, 1980. The Game. Dir. David Fincher, USA, 1997. Gamer. Dir. Mark Neveldine and Brian Taylor, USA, 2009. The General’s Daughter. Dir. Simon West, USA/Germany, 1999. Girl Shy. Dir. Fred Newmeyer and Sam Taylor, USA, 1924. The Girl with the Dragon Tattoo. Dir. David Fincher, USA/Sweden, 2011. Goldfinger. Dir. Guy Hamilton, UK, 1964. Halloween II. Dir. Rick Rosenthal, USA, 1981. Hannibal. Dir. Ridley Scott, USA, 2001. Hannibal Rising. Dir. Peter Webber, UK/Czech Republic/France/Italy, 2007. Hardcore/The Hardcore Life. Dir. Paul Schrader, USA, 1979. Hellraiser. Dir. Clive Barker, UK, 1987. Henry: Portrait of a Serial Killer. Dir. John McNaughton, USA, 1990. High Anxiety. Dir. Mel Brooks, USA, 1977. Histoire d’O/The Story of O. Dir. Just Jaeckin, France/West Germany, 1975. Hookers, Hustlers, Pimps and their Johns. Dir. Beeban Kidron, USA/UK, 1993. Hostel. Dir Eli Roth, USA/Czech Republic, 2005. Hostel: Part II. Dir Eli Roth, USA, 2007. Hostel: Part III. Dir Scott Spiegel, USA, 2011. House of Wax. Dir. André de Toth, USA, 1953. The Illustrated Man. Dir. Jack Smight, USA, 1969. Ilsa, She-Wolf of the SS. Dir. Don Edmonds, USA, 1974. Interno di un convento/Behind Convent Walls. Dir. Walerian Borowczyk, Italy, 1977. The Jigsaw Murders. Dir. Jag Mundhra, USA, 1988. Le Journal d’une femme de chambre/Diary of a Chambermaid. Dir. Luis Buñuel, France/Italy, 1964. Kiss the Girls. Dir. Gary Fleder, USA, 1997. Lager SS adis kastrat kommandantur/SS Experiment Camp. Dir. Sergio Garrone, Italy, 1976. The Lair of the White Worm. Dir. , UK, 1988. Lara Croft: Tomb Raider. Dir. Simon West, USA/Germany/UK/Japan, 2001. Last House on Dead End Street. Dir. Roger Watkins (aka Victor Janos), USA, 1977. Lethal Weapon. Dir. Richard Donner, USA, 1987. The Loneliness of the Long Distance Runner. Dir. Tony Richardson, UK, 1962. Maîtresse. Dir. Barbet Schroeder, France, 1976. Le malizie di venere/Venus in Furs. Dir. Massimo Dallamano, Italy/West Germany/ UK, 1969. A Man Called Horse. Dir. Elliot Silverstein, USA, 1970. Män som hatar kvinnor/The Girl with the Dragon Tattoo. Dir. Niels Arden Oplev, Sweden/Denmark/Germany, 2009. Manhunter. Dir. Michael Mann, USA, 1986. Martyrs. Dir. Pascal Laugier, France/Canada, 2008. The Mask of Fu Manchu. Dir. Charles Brabin and Charles Vidor, USA, 1932. Filmography 219

The Matrix. Dir. Andy Wachowski and Larry Wachowski, USA/Australia, 1999. McLintock!. Dir. Andrew V. McLaglen, USA, 1963. Memento. Dir. Christopher Nolan, USA, 2000. Mil gritos tiene la noche/Pieces. Dir. Juan Piquer Simón, Spain/USA/Puerto Rico, 1982. Misery. Dir. Rob Reiner, USA, 1990. Mr & Mrs Smith. Dir. Doug Liman, USA, 2005. Misteria/Body Puzzle. Dir. Lamberto Bava, Italy, 1991. Moju/Blind Beast. Dir. Yasuzo Masumura, Japan, 1969. The Most Dangerous Game/The Hounds of Zaroff. Dir. Irving Pichel and Ernest B. Shoedsack, USA, 1932. Mute Witness. Dir. Anthony Waller, UK/Germany/Russia, 1995. Mystery of the Wax Museum. Dir. Michael Curtiz, USA, 1933. Naked Lunch. Dir. David Cronenberg, Canada/UK, 1991. The Night of the Hunter. Dir. Charles Laughton, USA, 1955. 9½ Weeks. Dir. Adrian Lyne, USA, 1986. Once Were Warriors. Dir. Lee Tamahori, New Zealand, 1994. 127 Hours. Dir. Danny Boyle, USA/UK/Australia, 2010. Paroxismus/Venus in Furs. Dir. Jess Franco, Italy/West Germany/UK, 1969. The Passion of the Christ. Dir. Mel Gibson, USA, 2004. Payback. Dir. Brian Helgeland, USA, 1999. The Penalty. Dir. Wallace Worsley, USA, 1920. Perils of Nyoka. Dir. William Witney, USA, 1942. Personal Services. Dir. Terry Jones, UK, 1987. La Pianiste/The Piano Teacher. Dir. Michael Haneke, Austria/France/Germany, 2001. The Piano. Dir. Jane Campion, Australia, 1993. Pierce. Dir. Richard Kern, USA, 1986. Pigs is Pigs. Dir. I. (Friz) Freleng, USA, 1937. The Pillow Book. Dir. Peter Greenaway, The Netherlands/France/UK, 1995. The Pit and the Pendulum. Dir. Roger Corman, USA, 1961. Point Break. Dir. Kathryn Bigelow, USA, 1991. Il portiere di notte/The Night Porter. Dir. Liliana Cavani, Italy, 1973. Po Urodov i Liudei/Of Freaks and Men. Dir. Aleksei Balabanov, Russia, 1998. Preaching to the Perverted. Dir. Stuart Urban, UK, 1997. Prince of Persia: The Sands of Time. Dir. Mike Newell, USA, 2010. The Producers. Dir. Mel Brooks, USA, 1968. Psycho. Dir. Alfred Hitchcock, USA, 1960. Pulp Fiction. Dir. Quentin Tarantino, USA, 1994. Raging Bull. Dir. Martin Scorsese, USA, 1980. Red Dragon. Dir. Brett Ratner, USA/Germany, 2002. La Religieuse. Dir. Jacques Rivette, France, 1966. Resident Evil. Dir. Paul Anderson, Germany/UK/France, 2002. Resurrection. Dir. Russell Mulcahy, USA, 1999. Ripper. Dir. John E. Eyres, Canada, 2001. Robert Having His Nipple Pierced. Dir. Sandy Daley, USA, 1968. Rocky. Dir. John G. Avildsen, USA, 1976. Rollerball. Dir. Norman Jewison, USA, 1975. Romance. Dir. Catherine Breillat, France, 1999. 220 Filmography

Salò o le centoventi giornate di Sodoma/Salo, or The 120 Days of Sodom. Dir. Pier Paolo Pasolini, Italy/France, 1975. Salon Kitty. Dir. Tinto Brass, France/Italy/West Germany, 1976. Saw. Dir. James Wan, USA, 2004. Saw II. Dir. Darren Lynn Bousman, USA/Canada, 2005. Saw III. Dir Darren Lynn Bousman, USA/Canada, 2006. Saw IV. Dir. Darren Lynn Bousman, USA/Canada, 2007. Saw V. Dir. David Hackl, USA/Canada, 2008. Saw VI. Dir. Kevin Greutert, USA/Canada, 2009. Saw3D. Dir. Kevin Greutert, USA, 2010. Scarface. Dir. Howard Hawks, USA, 1932. Scorpio Rising. Dir. Kenneth Anger, USA, 1964. Scream. Dir. Wes Craven, USA, 1996. The Searchers. Dir. John Ford, USA, 1956. Secretary. Dir. Steven Shainberg, USA, 2002. Sekka Tomurai Zashi/Irezumi/Spirit of Tattoo. Dir. Yoichi Takabayashi, Japan, 1982. Series 7: The Contenders. Dir. Daniel Minahan, USA, 2001. Se7en. Dir. David Fincher, USA, 1995. The Sewing Circle. Dir. Richard Kern, USA, 1992. She Freak/Alley of Nightmares. Dir. Byron Mabe, USA, 1967. Sherlock Holmes. Dir. Guy Ritchie, Germany/USA/Australia, 2009. Sherlock Holmes and the Spider Woman/Spider Woman. Dir. Roy William Neill, USA, 1944. Shirley Valentine. Dir. Lewis Gilbert, USA, 1989. Sick: The Life and Death of Bob Flanagan, Supermasochist. Dir. Kirby Dick, USA, 1997. Signatures of the Soul. Dir. Geoff Steven, New Zealand, 1984. The Silence of the Lambs. Dir. Jonathan Demme, USA, 1991. Snuff. Dir. Michael Findlay and Roberta Findlay, USA/Argentina, 1976. Something Wild. Dir. Jonathan Demme, USA, 1986. Spartacus. Dir. Stanley Kubrick, USA, 1960. Staggered. Dir. Martin Clunes, UK, 1994. Storia di una monaca di clausura/Diary of a Cloistered Nun. Dir. Domenico Paolella, France/Italy/West Germany, 1973. Strangeland. Dir. John Pieplow, USA, 1998. Suor omicidi/Killer Nun. Dir. Giulio Berruti, Italy, 1978. Swept Away. Dir. Guy Ritchie, UK/USA/Italy, 2002. Tarzan and the Leopard Woman. Dir. Kurt Neumann, USA, 1946. Tattoo. Dir. Bob Brooks, USA, 1981. Tattoo. Dir. Robert Schwentke, Germany, 2002. Tattoo, San Francisco. Dir. Charles Gatewood, USA, 1988. The Tattooed Stranger. Dir. Edward J. Montagne, USA, 1950. Tesis/Thesis. Dir. Alejandro Amenábar, Spain, 1996. The Texas Chainsaw Massacre. Dir. Tobe Hooper, USA, 1974. Theatre of Blood. Dir. Douglas Hickox, UK, 1973. This Sporting Life. Dir. Lindsay Anderson, UK, 1963. Travolti da un insolito destino nell’azzurro mare d’Agosto/Swept Away/Swept Away … by an Unusual Destiny in the Blue Sea of August. Dir. Lina Wertmüller, Italy, 1974. True Grit. Dir. Henry Hathaway, USA, 1969. Filmography 221

The Unknown. Dir. Tod Browning, USA, 1927. Unthinkable. Dir. Gregor Jordan, USA, 2010. Urban Legend. Dir. Jamie Blanks, USA, 1998. Verfolgt/Hounded. Dir. Angelina Maccarone, Germany, 2006. Videodrome. Dir. David Cronenberg, Canada, 1982. Wall Street. Dir. Oliver Stone, USA, 1987. War is Menstrual Envy. Dir. , USA, 1992. West of Zanzibar. Dir. Tod Browning, USA, 1928. Westworld. Dir. Michael Crichton, USA, 1973. White of the Eye. Dir. , UK, 1987. White Slaves of Chinatown. Dir. Joseph P. Mawra, USA, 1964. The Wizard of Oz. Dir. Victor Fleming, USA, 1939. A Zed and Two Noughts. Dir. Peter Greenaway, UK/The Netherlands, 1985. Television Programmes

(All dates and channels relate to the first transmission in the country of production.)

The Anatomists, parts 1–3, UK, Channel 4, tx. 12.03.2002; 19.03.2002; 26.03.2002. Anatomy of Disgust, part 3, UK, Channel 4, tx. 29.08.2000. Art Shock: The Human Canvas, UK, Channel 4, tx. 14.03.2006. Autopsy: Life and Death, parts 1-4, UK, Channel 4, tx. 16.01.2006; 17.01.2006; 18.01.2006; 19.01.2006. David Blaine: Above the Below, parts 1–2, UK, Sky One, tx. 05.09.2003; 19.10.2003. Freak Out, parts 1–5, UK, Channel 4, tx. 06.07.2000; 13.07.2000; 20.07.2000; 27.07.2000; 03.08.2000. ‘Out on a Limb/Complete Obsession: Body Dysmorphia’, Horizon, UK, BBC2, tx. 17.02.2000. ‘The Secret World of Pain’, Horizon, UK, BBC2, tx. 31.01.2011. London Ink, UK, Discovery Real Time, tx. 23.09.2007-present. Miami Ink, USA, TLC/Discovery Real Time, tx. 19.07.2005–21.08.2008. Pleasure and Pain with Michael Mosley, UK, BBC1, tx. 25.01.2011. Prison Break, USA, Fox, tx. 29.08.2005–15.05.2009. Raiders of the Human Body, parts 1–3, UK, BBC2, tx. 21.09.1998; 22.09.1998; 23.09.1998. ‘The Scandal in Belgravia’, Sherlock, UK, BBC1, 01.01.2012. Sherlock Holmes and the Case of the Silk Stocking, UK, BBC1, tx. 26.12.2004. ‘’, The South Bank Show, UK, LWT, tx. 05.04.1998. ‘Skin’, Tales of the Unexpected, UK, Anglia Television, tx. 08.03.1980. Vile Bodies, parts 1–3, UK, Channel 4, tx. 23.03.1998; 30.03.1998; 06.04.1998. World of Pain, UK, Channel 5, tx. 13.01.2002. A World of Pain, UK, BBC2, tx. 04.06.2009.

222 Index

Note: ‘n.’ after a page reference denotes a note number on that page; page references in bold denote a figure. absence of pain 84, 123 audience appropriation 19–21 Abu Ghraib 176–8, 180, 184, 190 audience-narrative contract 18–19 /apotemnophilia 76 autonomy 7, 61, 194, 197 active male/passive female Autopsy (Flanagan) 51, 55 binary 13, 27, 36, 53, 91–2 Autopsy: Life and Death (2006) 3 aestheticization 38, 154, 194 body modification 58, 62, 68, 71, B, Franko 3, 199n.2 76, 83 Baine, W. 56 controlled body 15, 17, 23–4 Ballard, J. G. 77 serial killer films 95, 97, 114–23, Barker, M. 22 128, 133 Barrett, J. 26, 30, 37 torture porn 181–5 Batman Returns (1992) 36 aesthetics of suffering 36, 57–8, 71, Battle Royale (2000) 172 114–23, 131, 141, 147, 159, 173, BBFC 46–7, 89 181–5 BDSM 26–57, 196–7 After Hours (1985) 37 body modification 58, 60–1, 66, agency 72, 78, 133, 176 68–9, 78, 81, 86–7 agôn/ilinx play 138 controlled body 8–10, 12, 14–24, Ai no Corrida (1976) 55 56–7 Aladdin (1992) 20 defining qualities 4–5, 26–9 21 games 134, 137, 141–3, 152, 156, aliveness and pain 7, 44, 79, 159, 158–62, 165, 167 164 increased incidence in film 29–39 Allen, S. 172 mainstreaming of 33–9, 71 Alley of Nightmares (1967) 79 serial killer films 95–6, 103, 109, American Beauty (1999) 154 113, 115 amputation 70–7 torture porn 178–9, 189, 191–2 Anatomie/Anatomy (2000) 100 beauty 72–7, 79, 81, 88–90, 102, anatomy 23, 104–6, 199n.4 115–16, 118, 125, 165–6, 196 The Anatomy Lesson (Sallé) 104 Beckmann, A. 10–11, 17, 26 Anatomy of a Seated Woman Behind Convent Walls (1977) 31 (Pinson) 105 Belle de jour (1967) 20, 36 Anger, K. 30 Benjamin, J. 26 The Anthropomorphic Cabinet Benning, S. 125 (Dali) 106 Benson, S. 59–60, 64–5, 80 anxiety 47, 137–8, 143, 145, 148–9 Bernstein, J. W. 154 The Ascension (Flanagan) 50 Bernstein, N. R. 83–4 Asch, A. 90 Bigum, C. 151 ¡Atame! (1989) 20, 36 Black, A. 131 Athey, R. 3, 76 Black, J. 107

223 224 Index

Blaine, D. 1–2, 5, 199n.1 Browning, T. 70 Blowback (1999) 97, 112, 116–17, bruising 78, 87, 157 120–1 Buñuel, L. 30 Blue Hawaii (1961) 17 Butler, J. 181, 186–9 Blue Velvet (1986) 36–7 Butt, T. 1, 4, 26 Boccioni 106 Bynum, C. W. 105 ‘Body Art’ (TV 1998) 3 body genres 124–5, 180 Caillois, R. 7, 22, 134, 136–8, 149, body horror 96–7 158, 167, 190 body modification 4, 58–94, 194, 196 Califia, P. 29 as bonds/memory 61–2, 86–7, The Camden Town Murder 158, 161, 164 (Sickert) 104 controlled body 23–4 Campbell, R. 17 games 140, 165 Cape Fear (1991) 61–2 piercings 68–77 Caplan, J. 59 refigurement 88–93 captivity 65–6, 72 scars and wounds 77–88 Carver, T. 154 serial killer films 119, 131 Cash, T. F. 69 tattoos 61–8 Casino Royale (2006) 171 torture porn 170–1, 180, 185, 189 Cavani, L. 32 Body of Evidence (1992) 37 celebrity 99, 103–4 Body Puzzle (1991) 97 The Cell (2000) 68 body rituals 14, 22 censorship 46–7, 65 Body Worlds exhibition (2002–3) 3, Cézanne, P. 106 105–6, 124, 128–9 Chaney, L. 70 The Bone Collector (1999) 7, 97, Chapman Brothers 115 100–1, 109, 112, 114–15, 121–3, Chapman, J. 18 128, 132 Chapman, R. 12 Bone Daddy (1998) 97, 112, 114 Charlie’s Angels (2000) 37 Bosch, H. 103 Cho, S. 125 Boss, P. 96 choices themes 180, 183, 189–91 Boston Strangler 103 Cinema of Transgression 71 Bourdieu, P. 111 Circus of Horrors (1960) 79 see also cultural capital cliffhangers 18, 100, 171 Boxing Helena (1993) 1, 6, 60, 71–7, Cliffhanger (1993) 134 88, 94, 119, 165, 73 Clover, C. 12, 98 Brain, R. 59 clues, body as repository of 99, Brancato, J. 145 108–14, 119, 122–3, 127, 130, 132 branding 69, 86 Cohan, S. 12 Brass, T. 31 Coleman, J. 125 Braveheart (1995) 153 The Collector (1965) 63, 65, 72 Breillat, C. 35 Coma (1978) 96 British films 38 comedy 38–9 Bronski, M. 158 commodification 3, 13, 139 Brook, B. 63 competition 141–2 Brookey, R. A. 158–9, 161–2 Conan Doyle, A. 107 Brooks, M. 38–9 2, 4, 6, 16, 193, 195, 197 Brophy, P. 96 BDSM 28, 38, 42, 44, 46, 57 Brown, J. A. 13 controlled body 15, 17–19, 22 Index 225

games 141, 143, 149–50, 158–61 Deacy, C. 154 torture porn 180–1, 185–91 Dead Ringers (1988) 37–8 control 28, 49, 58, 193 The Dead Zone (1983) 96 and display 3–4 death 96–7, 108, 151–2 games 135–8 Death Race 2000 (1975) 134 illusory 134, 147, 149, 151, 160–1 La decima vittima (1965) 172 relinquishing 134, 137–8, 141, defining qualities of BDSM 26–9 145–53, 156, 159–63, 166, 196 deformity 69–77 serial killer films 96–114 Delage, G. 143 controlled body 2, 4–5, 7–25, 45, Deleuze, G. 11 47–8, 194, 197–8 DeMello, M. 59 modification 60–1, 67, 88 denial of masochism 135, 141–2, questions about 56–7 154, 156, 167, 173, 195 serial killers 98, 102, 115, 123 detective roles 97–8, 106–14, 118, and serial killers 96–114 122–3, 132 subterfuge in movies 15–21 Diary of a Chambermaid (1964) 30 controlled space 134–7, 140–1, Diary of a Cloistered Nun (1973) 31 145, 149, 151, 154, 157–8, 183–4, Dick, K. 46–7 192, 196 disability 69, 74, 82, 88–90, 93 Cooley, C. 98 discourse 79–80 Copycat (1995) 97, 101, 112, 114, display 3–4, 97, 108 132 male body 50–1, 64, 81–3, 140, Cox, R. 74 165–6 Craig, P. 180, 185 Dix, O. 104 Crash (1996) 6, 60, 69, 71, 77–94, documentary films 36, 71 125, 138, 140, 151, 162–5, 169, dominance/submission 1, 4, 9, 81, 85, 89 12–15, 17–18, 24 Creed, B. 77, 92 see also BDSM; top-bottom crime scenes 97–8, 121, 125 oscillation Cronenberg, D. 37–8, 77–8, 89, 149, role 27, 36–8, 48, 53–4, 162 178 cultural capital 102–4, 109–15, 117, Donkey Kong (1981) 147 120–1, 132 Donovan’s Reef (1963) 17 cultural contexts 59, 66, 77–9, Douglas, J. E. 98, 108 153–4 Douglas, M. 14 Cumberbatch, G. 69 Duffy, M. 74 Curry, D. 23, 60, 65, 67, 80, 86 Dureau, G. 74–5 Dworkin, A. 26 Dale, J. 15 Dyer, R. 13, 83, 99–100, 113, 128–9, Dali, S. 106 140 Dallamano, M. 30 D’Angelo, M. 48 Eastwood, C. 16 Darke, P. 69 Ebert, R. 48, 54 Davis, B. 175–6, 182–3 Ebin, V. 59 Davis, F. 89 écorchés 105, 129 De Coulteray, G. 15–17 Edelstein, D. 175–6, 181 De Quincey, T. 99, 102–3, 107, Edgerton, S. Y. 120 117–18 Edwardes, C. 46 De Sade (1969) 30 Edwards, T. 26–7 226 Index

8mm (1999) 6, 29, 39–46, 56–7, 61, Fletcher, P. 176–7 93, 169, 40–1 Fore, D. 183 Ellis, H. 10, 21, 28 formalism 127, 131, 133 Elsa Fräulein SS (1977) 31 Foucault, M. 27–8, 79, 102, 137 Emanuelle in America (1976) 42 Fouz-Hernández, S. 12 empathy 131, 175 Fowles, J. 63 endurance 138, 142, 179–80 Fox, J. L. 96 and overcoming 16, 18–19, 143 Fradley, M. 180, 185 enlightenment 181, 187 Franco, J. 30 epic genre 50–1, 57 Fräulein Devil (1977) 31 erogenous zones 88, 91–2 Freak Out (TV 2000) 76 eroticization 13, 16, 69, 82–3, 90, freak shows 74–5 116, 164 Freaks (1932) 70, 79 Eugénie... (1970) 30 Freedberg, D. 23, 114, 127 European films 30–3, 36 Freud, S. 10–11, 27, 44 Everitt, D. 96 Friday, N. 36 exhibitions 3, 23, 105–6, 118, 124, Friday the 13th (1980) 101 128–9 Fu Manchu films 18 eXistenZ (1999) 149 Fuchs, C. 96, 103, 125 extreme sports 4, 22–3, 87, 134–5, Fuller, G. 154 142–3, 145, 149, 151–3, 159–62, 164, 167, 181 Gacy, J. 103 Gailey, C. W. 135, 144 Falk, G. 9, 14, 17 Gallina, R. 80 Faludi, S. 153 The Game (1997) 7, 135, 138, 142, FearDotCom (2002) 177 144–54, 164–8, 148 Featherstone, M. 134, 139 Gamer (2009) 172–3 Feely, M. R. 20 games 134–68 Felperin, L. 35 BDSM 134, 137, 141–3, 152, 156, female masochism 31–5 158–62, 165, 167 feminism 12–13, 35–6, 86, 153 body modification 140, 165 Fetishes (1996) 36 control 135–8, 156, 159–63, 166 fetishistic elements 15–16, 39–41, relinquishing control 145–53 65, 75, 85, 88–9, 170 see also extreme sports; Fight Club; Fiedler, L. 75 The Game; sport; video games Fifty Shades of Grey (James) 197 Garrone, S. 31 Fight Club (1999) 1, 7, 135, 138–44, the gaze 11–13, 26, 50, 61–2, 80, 82, 153–69, 181, 159, 165, 166 118, 140 film series 16–19, 30, 107, 149, 171 Gebhard, P. H. 27, 49 final girl roles 12, 98 Gein, E. 106 Fincher, D. 7, 125, 131, 135, 143, gender relations 153, 155–6, 167 145, 161–3, 167–8, 182, 194 gendering 5, 9–12, 16, 27, 36, 53, Fine, M. 90 63, 65–6, 77, 91–2 First Casting for Milo (Witkin) 75 The General’s Daughter (1999) 35 Fisher, J. A. 61–2 Gibson, M. 13, 172 Flanagan, B. 20, 46–57, 129, 138, Gill, P. 44 157–8 Girl Shy (1924) 17 Flash Gordon (1936) 18 The Girl with the Dragon Tattoo Fleck, P. 108–9 (2009) 171, 194 Index 227

The Girl with the Dragon Tattoo horror films 20–1, 37–8, 95–6, 124, (2011) 194 175 Giroux, H. A. 5, 153, 155–6, 160–1 Hostel films 175–7, 180, 186, 197 Gitlin, T. 26 Houdini, H. 1, 20 Goldfinger (1964) 18 Hounded (2006) 172 Goodman, N. 126 The Hounds of Zaroff (1932) 172 gore quotients 175–6 House of Wax (1953) 100 Gothic literature 102 Huizinga, J. 7, 22, 134, 136–7, 149, Goulet, O. 106 156–7, 190 Green, B. 151 humour 38–9 Griffiths, M. 76 Humphries, R. 177 Grosz, G. 104 Hunt, L. 50–1 Grundmann, R. 77 Huntley, J. 189 Grünewald 103 Hutchings, P. 12, 26 Guantanamo Bay 177, 180 iconography 15, 38, 50, 68 Hackl, D. 182 of crime scenes 107–14 Halloween II (1981) 101 of pain 114–23 Hannibal (2001) 103, 111–14, 132 identification 12–13, 21, 36, 44, 127, Hannibal Rising (2007) 173 175 Hantke, S. 175 identities 2, 23, 60, 62–3, 66, 74, haptic cinema 125–6 156 Hardcore (1979) 40, 42 illusion of control/danger 134, 147, hard/soft rails 144, 147, 150, 149, 151, 160–1 184–5 The Illustrated Man (1969) 62 Hargreaves, J. 134, 139 Ilsa, She-Wolf of the SS (1974) 31 Hark, I. R. 12 images, power of 123–31 Harris, T. 98 In the Realm of the Senses Hart, L. 15 (1976) 55 Haston, D. 143 Indiana Jones films/games 18, 149 healing process 84–5, 87 institutional settings 31, 37–8 Hellraiser (1987) 38 Interno di un convento (1977) 31 Henry: Portrait of a Serial Killer investigator as critic 107–14 (1990) 20–1, 36 Irezumi (1982) 66–7 Hepworth, M. 134 hero roles 50–1 J 75–6 High Anxiety (1977) 38 Jack the Ripper 103–4 Hillside Strangler 103 Jaeckin, J. 30 Hirschauer, S. 128–9 James Bond films 16, 18–19, 171 Hirst, D. 115 James, E. L. 197 Histoire d’O (1975) 30 Jeffords, S. 12 Hitchcock, A. 53 Jeffreys, S. 86 Hite, S. 36 Jeffries, S. 106, 128, 140 homoeroticism 10, 13, 16, 50, 91–2, Jenkins, H. 144 152, 158, 162, 165 Jenkins, P. 99 Hookers, Hustlers, Pimps and their Johns The Jigsaw Murders (1988) 61 (1993) 36 Le Journal d’une femme de chambre Hooper, C. 154 (1964) 30 Hopkins, P. D. 35–6, 49 Juhasz, A. 153 228 Index

Die Jungfrau und die Peitsche London Ink (TV 2007) 170 (1970) 30 The Loneliness of the Long Distance Juno, A. 20, 47, 53–4, 59, 69, 80, 86 Runner (1962) 143 love contexts 17, 28, 34, 51, 54–6, Kamel, G. W. L. 4, 10, 14–15, 27–8 84–6, 160 Kamikaze, J. 68 Lucie-Smith, E. 74–5 Kaplan, E. A. 33 Lynch, J. C. 72 Kauffman, L. S. 50, 53 Kerekes, D. 42 MacKendrick, K. 14 Kern, R. 71, 84 MacKinnon, K. 13 Khondji, D. 125–6 mainstreaming 15–21, 33–9, 71 Killer Nun (1978) 31 Maîtresse (1976) 36 Kim-Trang, T. T. 125 male masochism 11, 16, 36–7, 43–57, Kinkies 30 162–3, 195, 202n.12 Kirkham, P. 12 denial of 135, 141–2, 154, 156, Kiss the Girls (1997) 97, 112, 114 167, 173, 195 Klaw, I. 30 Le malizie di venere (1969) 30 Klesse, C. 59–60 Män som hatar kvinnor (2009) 171, 194 knowledge, painful 123–31, 175 Manhunter (1986) 97, 111, 127–8, 173 Koch, E. 106 Mann, A. 51 Kolker, R. 141–2 Manson, C. 103, 131 Krafft-Ebing, R. von 9–10, 27, 43, Mapplethorpe, R. 71 171 Marks, L. 125, 127 Krzywinska, T. 12, 26, 30 martyrs 115–17 Martyrs (2008) 172 Lacan, J. 11 Mascia-Lees, F. E. 59, 67 Lady Gaga 30 masculinity 9–10, 12, 40, 51, 53, Lager SS adis kastrat kommandantur 140, 142, 153, 156–7, 163, 167 (1976) 31 The Mask of Fu Manchu (1932) 15, 17 The Lair of the White Worm (1988) 37 Maslin, J. 145 Langridge, D. 1, 4, 26 masochism 2, 10, 36, 95, 193, Lara Croft: Tomb Raider (2001) 135 196–7 Last House on Dead End Street of painful knowledge 123–31, 175 (1977) 42 and play 134–8, 140–1, 143, Le Breton, D. 22, 142–3, 151–3, 159, 152–4, 159, 161–3, 167 164 theorizing 8–15 Leather from Home (1983) 48 torture porn 177, 180–1 Lee, J. A. 15, 45–6 see also male masochism legislation 141 The Matrix (1999) 149 Lehman, D. 109 Maturin, C. R. 102 Lehman, P. 12 Matzer, M. 104 Leonardo da Vinci 105 Max, A. 126 lesbian elements 35, 92 McClintock, A. 14, 17, 45, 50, 53 Lethal Weapon (1987) 61 McCosker, A. 26, 78 Levin, J. 96 McLintock! (1963) 17 Lévi-Strauss, C. 59 meaning 59, 66, 77–9, 179–81, 183, Lisle, D. 156 187–8, 196 literary heritage 30–1, 102–3, medicalization 3, 9, 198 112–13 Medvei, V. C. 124 Index 229

Melmoth the Wanderer (Maturin) 102 9½ Weeks (1986) 20, 36 Memento (2000) 61, 93 9/11 175, 177, 181, 186–8, 195 memory 61–2, 87, 158, 161, 164 Nixon, S. 12 Merck, M. 14 non-consensual factors 41, 45, 65–7, Messner, M. A. 134 170, 172, 194 Miami Ink (TV 2005–8) 170 non-Hollywood films 30–3, 36, 71 Millett-Gallant, A. 74 see also Sick: The Life and ... Mirbeau, O. 30 Norden, M. F. 69, 75 Misery (1990) 70 normalization 34–5, 48 misogyny 65–6, 155 norms and values 27–8, 135 Misteria (1991) 97 Norton, E. 153–4 Modern Primitives 59–60, 68–9, 71, 77, 172 objectification 13, 21, 72–7, 79, 83 Monfette, C. 182 O’Dell, K. 19 Moore, W. 106 Of Freaks and Men (1998) 36 morality 3, 44, 102, 118, 169, 172, Olshaker, M. 108 174, 185–92 Once Were Warriors (1994) 62–3 Morgan, D. 2–3 127 Hours (2010) 143, 173, 181 Morris, G. 70 Organized Killers 97–8 The Most Dangerous Game (1932) 172 otherness 42, 57, 75, 187, 192 Mr & Mrs Smith (2005) 37 ‘Out on a Limb’ (TV 2000) 76 Mulvey, L. 11–13, 26, 52 Overground website 75–6 Munn, C. 98 ‘The Murders in the Rue Morgue’ paedophilia 40–1 (Poe) 107 pain 2, 49, 84, 123 Murray, G. 176, 180 aliveness and 7, 44, 79, 159, 164 Murray, I. 60 display/expression 3–4, 125 Murray, L. 120 iconography 114–23 Murray, P. 120 of knowledge 123–31, 175 Musafar, F. 59, 68–9 self-inflicted 3–4, 33–5, 78, 80, music industry 29–30 86, 179 Mute Witness (1995) 40 Palahniuk, C. 140–1, 159–60 Myers, J. 59–60, 91 Paroxismus (1969) 30 Mystery of the Wax Museum Pasolini, P. P. 30–1 (1933) 100 The Passion of the Christ (2004) 172, 175 Naked Lunch (1991) 20 passive gore 182–3, 203n.5 narrative elements 13–21, 30, 39, passivity 83, 163 63–4, 70–1, 76, 97–8, 108–9, 112, pathologizing 8, 34, 61, 71, 80 123–5, 145, 153 patriarchy 16, 35–6, 66, 153, 155–6 Natale, K. 175–6, 182–3 Patrick, G. 171 Nazi films 31–2 Payback (1999) 37 Neale, S. 13, 26, 50–1 pejorative attitudes 37, 196 Negrine, R. 69 The Penalty (1920) 70 New York Dolls 29 performance art 1–2, 5, 46–56, 68, Newman, K. 176–7 71, 199n.1 Newton, M. 96–7 Perils of Nyoka (1942) 18 The Night of the Hunter (1955) 61 permanency 58, 65, 80, 87 The Night Porter (1973) 11, 32 Personal Services (1987) 38 230 Index

Phillips, Z. 60 Quinn, M. 74 photography 74–5, 82, 90, 176 La Pianiste/The Piano Teacher Raging Bull (1980) 141–2 (2001) 35 Randall, H. 21–2, 196 The Piano (1993) 70, 126–7 rape 65, 67, 194 Pierce (1986) 71 Réage, P. 31 piercings 38, 47–8, 60, 68–77, 80, Red Dragon (2002) 111 84, 86, 91, 93 redemption 107, 154, 160 Pietersz, A. 104 refigurement 81, 87–94, 119, 170 Pigs is Pigs (1937) 20 Rehling, N. 156, 164–5 The Pillow Book (1995) 62–3 Reid, J. 151 Pinedo, I. 20–1, 96, 176–7 Reiner, R. 70 Pink, W. 105 La Religieuse (1966) 31 Pinson, A.-P. 104–5 religious elements 50, 114–17, The Pit and the Pendulum (1961) 15, 20 119–20, 154, 160, 163, 172, Pitts, V. 59–61, 80 200n.9 play 134–68 relinquishing control 134, 137–8, defining qualities 22, 134, 135–8, 141, 145–53, 156, 159–63, 189–91 166, 196 see also games Rembrandt 104 Pleasure and Pain (TV 2011) 170 Resident Evil (2002) 135 Po Urodov i Liudei (1998) 36 resistance 2, 91, 135 Poe, E. A. 107 Ressler, R. K. 24, 98, 100, 108, 128 Point Break (1991) 134 Resurrection (1999) 7, 97, 100–1, Polhemus, T. 21–2, 59, 196 114–15, 117–21, 125, 132, 120 political elements 177, 179, 187–8, Ripper 112, 114 191–3, 197–8 risk 136–7, 144, 149, 152, 160 Poole, S. 145, 149, 151 Rissik, A. 18 pornography 29, 41, 71, 124 Ritchie, A. 26, 33–5 see also torture porn Ritchie, G. 171 Il portiere di notte (1973) 11, 32 Robbe-Grillet, A. 102–3 Poulter, S. 89 Robert Having His Nipple Pierced power relations 15, 28, 176, 190 (1968) 71 Preaching to the Perverted (1997) 38 Rocky (1976) 139 press coverage 171, 176 Rodley, C. 77–8 Prince of Persia: The Sands of Time film role-play 149, 151, 156 (2010) game (2003) 135, 147 Rollerball (1975) 134, 139, 173 Prison Break (TV 2005–9) 170 Rollin, J. 30 The Producers (1968) 38–9 Romance (1999) 35–6 profilers 98, 108, 132 romanticization 107 Prototypes of Movement in Space Romney, J. 148 (Boccioni) 106 Rose, S. 48–9, 53–6 Pruzinsky, T. 69 Roth, E. 176, 180 Psycho (1960) 53, 106 Rubin, A. 59 psychoanalytic approach 8, 11–12, rules 19, 134–7, 140–1, 144, 151, 14, 35, 44, 71–2 157–9, 170, 180, 185–91, 196 Pulp Fiction (1994) 37 Rumsfeld, D. 176 punishment 70, 105, 142, 159 Russell, K. 37 Putman, D. 42 Rutherford, J. 12 Index 231

Sabo, D. F. 134 investigator as critic 107–14 Sacher-Masoch, L. von 3, 10–11, sensorial experience 123–33 18–19, 27, 30 seriality 99–100, 116, 123 Sade, Marquis de 3, 9, 11, 30 serials see cliffhangers sadism 2, 4, 9–11, 21, 169, 172, 176, Series 7: The Contenders (2001) 172 178, 180 Serrano, A. 115 Sallé, F. 104 Se7en (1995) 7, 97–106, 110–15, Salò (1975) 30–1 118–21, 123, 125–32, 169, 175, Salon Kitty (1976) 31 181–2, 111, 130 Sanders, C. R. 59 The Sewing Circle (1992) 71 Sargeant, J. 71 Sexual Murder (Dix) 104 Saville, J. 115 Shachtman, T. 24, 98, 100, 108, 128 Saw films (2004–10) 7, 131, 143, 173, Shafer, T. 144 175, 177–92, 196–7, 183, 185 Shainberg, S. 33 The Scaffold (Flanagan) 52–3, 52 Shakespeare, T. 69, 90 Scarface (1932) 79 Sharpe, P. 59, 67 Scarry, E. 24, 124, 176, 184, 190 Sharrett, C. 153, 175–6, 188–9 scars/scarification 69, 77–88, 91–3, Shaviro, S. 11–12 158, 165 She Freak (1967) 79 Schechter, H. 96 Sherlock Holmes stories/films/TV 16, Schildkrout, E. 59–60 18, 107, 171 Schmid, D. 96 Shirley Valentine (1989) 79 Schneider, S. J. 101, 173 Sick: The Life and Death of Bob Schrader, P. 40 Flanagan (1997) 6, 29, 42, Schroeder, R. 144 46–57, 69, 93, 52 Schumacher, J. 39 Sickert, W. 103–4 Schwentke, R. 173 Signature Behaviour 98, 103 scientization 107 The Silence of the Lambs (1991) 97, Scorpio Rising (1964) 30 111, 114–15, 132 Scott, C. 143 Silverman, K. 11, 26, 32 Scream (1996) 101 Simpson, P. L. 102, 173–4, 181 The Searchers (1956) 79 simulation 44, 49 ‘The Secret Room’ Skin (TV 1980) 62 (Robbe-Grillet) 102–3 SkinBag (Goulet) 106 ‘The Secret World of Pain’ Skirrow, G. 145 (TV 2011) 170 slasher films 96, 98, 101, 124 Secretary (2002) 1, 33–5, 48, 93, 34 Slater, D. 42 Segal, L. 36 Slocombe, R. 82, 84 Sekka Tomurai Zashi (1982) 66–7 Smith, G. 78 self-mutilation 33–5, 78, 80, Smith, P. 13, 16, 26 86, 179 Smith, W. 156 Seltzer, M. 95–6 Smugglerius cast (Pink) 105 sensorial experience 24, 123–33, Snuff (1976) 42 180–1 snuff films 39–42, 44–5 serial killer films 24, 68, 95–133, Sobchack, V. 126–7 170, 196 socio-cultural contexts 175–7, aesthetics of suffering 114–23 179–81, 186–8, 191–5, 197 and artistry 99–107 socio-cultural meanings 8, 14–15, and control 96–114 19, 24, 26, 38, 59 232 Index

Something Wild (1986) 36 Tattoo (1981) 6, 60, 63–9, 71–3, 77, Sontag, S. 176, 178 87, 93–4, 64 souvenirs 102–3 Tattoo (2002) 173 space, controlled 134–7, 140–1, 145, The Tattooed Stranger (1950) 61 149, 151, 154, 157–8, 183–4, 192, ‘The Tattooer’ (Tanizaki) 64 196 tattoos 60–8, 84–8, 91, 93, 106, spanking 17, 20 170–1, 194 Spanner trial 141 Taubin, A. 131, 141, 162, 165 Spartacus (1960) 53 Taylor, A. 144 spectacle 16, 21, 49, 54, 81, 88, Taylor, D. 174, 176, 184 96–7, 136 technology 77–8 Spectacular Bodies exhibition television 3, 18, 76, 170–1, 173 (2000–1) 3, 23, 105, 118 Tellalian, J. 90 spectatorship 8, 11–12, 26 The Tenth Victim (1965) 172 Spengler, A. 10, 14 Tesis (1996) 40 Spirit of Tattoo (1982) 66–7 testing the self/individual 137, 142 Spivey, N. 115 The Texas Chainsaw Massacre sport 139–43, 156, 165 (1974) 101–2, 106 see also extreme sports Theatre of Blood (1973) 101 Squire, K. 144 theatricality 28, 35–6, 49–50 SS Experiment Camp (1976) 31 theorizing masochism 8–15 Staggered (1994) 38 therapy culture 154–5 Stoddart, H. 61–2 Thesis (1996) 40 Stoller, R. 4, 19–20, 49 This Sporting Life (1963) 140–2 Storia di una monaca di clausura Thompson, B. 14, 141 (1973) 31 Thompson, L. 178, 190 The Story of O (1975) 30 Thomson, R. G. 69, 82, 89 Strangeland (1998) 68–9, 93–4, 172 Thumim, J. 12 Studlar, G. 11, 26 ticking clock formats 179, 182 Stuttaford, A. 106 Tie Me Up! Tie Me Down! (1989) 20, 36 subcultures 19–20, 28, 58–9, 62–3, Tietchen, T. F. 96 194–5 Tomb Raider films/games 147, 149 subterfuge 15–21, 194 top-bottom oscillation 10–11, 21, suffering-escape format 18–19, 180 27–8, 167 Suor omicidi (1978) 31 torture porn 4, 17, 21, 169–92, 195, surveillance 27, 39, 44, 123, 132, 197 175, 177 aesthetics 181–5 Susini, C. 104 consent and rules 185–91 Swallow, J. 145, 151 twenty-first century context 170–4 Sweetman, P. 23–4, 60–1, 66, 84, vulnerability 185–91 86, 91 see also Hostel films; Saw films Swept Away (2002) 33 transgression 53–4 Swept Away… by an Unusual Destiny… Travolti da un insolito destino (1974) 32–3 nell’azzurro mare d’Agosto (1974) 32–3 ‘Taking the Lid Off Helena’ (J) 75–6 Troost, C. 104 Tanizaki, J. 64–5, 200n.2 True Grit (1969) 17 Tarzan films 16, 18 Turner, B. S. 59, 134 Tatar, M. 104, 133 Tziallas, E. 170, 175, 177–9, 185, 190 Index 233

Uncharted: Drake’s Fortune (2007) 147 Walter, T. 106, 118 The Unknown (1927) 70 War is Menstrual Envy (1992) 71 Unthinkable (2010) 174 Washington Sniper 103 Urban Legend (1998) 101 Wayne, J. 17 Weinberg, T. 4, 9, 14–15, 17, 28, 35 Vale, V. 20, 47, 53–4, 59, 69, 86 Weiss, M. D. 26, 34 The Valley of Fear (Conan Wertmüller, L. 32–3 Doyle) 107 West of Zanzibar (1928) 70 The Velvet Underground 29 Westerfelhaus, R. 158–9, 161–2 Venus in Furs (1969) 30 Westworld (1973) 135 Venus in Furs (Sacher-Masoch) 10, 30 White of the Eye (1987) 97, 109–10 Verfolgt (2006) 172 Whitehead, S. 12 The Vibrators 30 Whitson, D. 140, 156 victim’s perspective 123–33, 177 Willemen, P. 26, 50–1 video games 135, 144–5, 147–56, Williams, D. E. 126 160, 167, 172–4, 184–91, 202n.2 Williams, L. R. 12, 29, 35, 77, 124 Videodrome (1982) 38 Wilson, E. 54 Viennese Actionists 103, 115 WIP (women in prison) films 31 The Viewing (Flanagan) 129 Witkin, J.-P. 74–5, 90 Vile Bodies (TV 1998) 3, 90 The Wizard of Oz (1939) 150 Vincendeau, G. 35 Woman in the Blue Hat (Witkin) 90 visceral properties 126–7, 130 World of Pain (TV 2002) 3 Visiting Hours (Flanagan) 49 A World of Pain (TV 2009) 170 visual arts 103–6, 115, 120 wounds 77–88, 92, 95, 157–8, 165 vom Lehn, D. 106, 124, 128–9 see also scars/scarification von Hagens, G. 105–6, 118, 124, 128–9, 173 X-Ray Spex 30 50, 65, 80, 84, 88, 93, 159 as duty 119–23, 125, 132 Young, A. 107–8, 118–19 vulnerability 4, 56, 82, 85–6, 127, Yuka on her bed (Slocombe) 82 177, 181, 185–92 Zalcock, B. 31 Walker, A. K. 41 Zedd, N. 71 Walker, J. A. 114 Zorzoli, G. B. 18 Wall Street (1987) 145 Zumbo, G. 104