1 Introduction

Notes

1 Introduction

1. The term comes from Melissa Wright, Disposable Women and Other Myths of Global Capitalism (New York: Routledge, 2006). 2. For analysis of the present-day chattel class of the American and global workforce, see ibid.; Kevin Bales, Disposable People: New Slavery in the Global Economy (Berkeley: University of California Press, 2004); and Grace Chang, Disposable Domestics: Immigrant Women Workers in the Global Economy (Cambridge, MA: South End Press, 2000). The discourse of disposability was visible a decade earlier during the phase of deregulation and liberalization initi- ated by the Clinton administration. For example, the US Senate Subcommittee on Labor published a transcript of its hearing on June 15, 1993, under the title “Towards a Disposable Workforce: The Increasing Use of ‘Contingent’ Labor.” In the hearing, Wendy Perkins, author of Temporarily Yours (Google Books/Permanently Collectible, 1989), describes her experiences in the early configuration of “temp labor,” conveying that the disposability of human workers was long in view and desirable from a corporate perspective: “Temps are an invisible work force with the toughest jobs in America and the least amount of respect. They are unrepresented in collective bargaining power to seek greater income stability and work benefits . . . Management gets rewarded for cost control of the labor force, early retirees, and eliminating full-time jobs to create contingent jobs. They save 30 to 50% for not providing benefits to their workers. Have we created a modern day slave or a flexible, highly skilled worker?” See Towards a Disposable Workforce: The Increasing Use of ‘Contingent’ Labor: Hearing before the Subcommittee on Labor of the Committee on Labor and Human Resources, 113th Cong. 4 (June 15, 1993) (statement of Wendy Perkins). 3. Manuel Castells, The Power of Identity, 2nd ed. (Malden, MA: Blackwell Publishers, 2004), 194. 4. See Petra Kuppers, “Visions of Anatomy: Exhibitions and Dense Bodies,” Differences: A Journal of Feminist Cultural Studies 15, no. 3 (2004): 150. 5. See Manuel Castells, The Rise of The Network Society (Malden, MA: Blackwell Publishers, 2000); and Frances Cairncross, The Death of Distance: How the 158 Notes

Communications Revolution Is Changing Our Lives (Cambridge, MA: Harvard University Press, 2001). 6. Svetlana Alpers, The Dutch Art of Describing: Dutch Art in the Seventeenth Century (Chicago, IL: University of Chicago Press, 1984), xxv. 7. John Berger, Ways of Seeing (London: BBC and Penguin Books, 1972). 8. I thank a former student, Sharon Holmes, for bringing this episode to my attention. On the website Feministing, Jessica Valenti registered outrage at the episode. See Jessica Valenti, “America’s Next Top (Dead) Model,” Feministing (blog), March 23, 2007, http://feministing.com/2007/03/23/americas_next _top_dead_model/. Jennifer Posner, founder of Women in Media & News, also criticized the show. See Jennifer Posner, “Top Model ’s Beautiful Corpses: The Nexus of Reality TV Misogyny and Ad Industry Ideology,” Huffington Post, March 27, 2007, http://www.huffingtonpost.com/jennifer-l-pozner/top-models -beautiful-corp_b_44331.html. 9. W. J. T. Mitchell, “Interdisciplinarity and Visual Culture,” Art Bulletin 77, no. 4 (December 1995): 542. 10. W. J. T. Mitchell, “The Surplus Value of Images,” Mosaic 35, no. 3 (September 2002). 11. Margaret Dikovitskaya, “An Interview with W. J. T. Mitchell,” in Visual Culture: The Study of the Visual after the Cultural Turn (Cambridge, MA: The MIT Press, 2005), 238. 12. Nicholas Mirzoeff, “What Is Visual Culture?” in The Visual Culture Reader, ed. Nicholas Mirzoeff (New York: Routledge, 1998), 9. 13. Bill Nichols, Ideology and the Image: Social Representation in the Cinema and Other Media (Bloomington: Indiana University Press, 1981), 63. 14. Similarly, Norman Bryson stresses that paintings have “semantic mobility” because the way in which they are read changes depending upon their context. He writes, “The frame establishes a convention whereby art is marked as semantically mobile, changing according to its later circumstances and con- ditions of viewing” (Norman Bryson, introduction to Looking In: The Art of Viewing, by Mieke Bal [Amsterdam: G&B Arts, 2001], 3). 15. Mulvey wrote a supplemental article in 1981 titled “Afterthoughts on ‘Visual Pleasure and Narrative Cinema’ Inspired by King Vidor’s Duel in the Sun.” Both essays appear in Visual and Other Pleasures (Bloomington: Indiana University Press, 1989). 16. Laura Mulvey, “Visual Pleasure and Narrative Cinema,” Visual and Other Pleasures, 19–21. 17. Hollywood director Budd Boetticher, quoted in ibid., 19. Film theorist Raymond Bellour makes a similar argument in an interview with Janet Bergstrom. He posits, “It seems to me that the classical American cinema is founded on a systematicity which operates very precisely at the expense of the woman, if one can put it that way, by determining her image, her images, in relation to the desire of the masculine subject who thus defines himself through this determination” (Janet Bergstrom, “Alternation, Segmentation, Hypnosis: Interview with Raymond Bellour—An Excerpt,” in Feminism and Film Theory, ed. Constance Penley [New York: Routledge, 1988], 195). Notes 159

18. Teresa De Lauretis, “Desire in Narrative,” in Alice Doesn’t: Feminism, Semiotics, Cinema (Bloomington: Indiana University Press, 1984), 119. De Lauretis also discusses the cinema as an apparatus that functions to model gender and reproduce gender ideologies in culture, in Technologies of Gender: Essays on Theory, Film and Fiction (Bloomington: Indiana University Press, 1987), 11–15. 19. Julia Kristeva, Powers of Horror: An Essay in Abjection (New York: Columbia University Press, 1982). 20. Elisabeth Bronfen, Over Her Dead Body: Death, Femininity and the Aesthetic (London: Routledge, 1992). 21. Carol J. Clover, “Her Body, Himself: Gender in the Slasher Film,” Representations 20 (Autumn 1987): 187–228. 22. Barbara Creed, The Monstrous Feminine: Film, Feminism, Psychoanalysis (London and New York: Routledge, 1993). 23. Norman Bryson’s Looking at the Overlooked: Four Essays on Still Life Painting (Cambridge, MA: Harvard University Press, 1990) helped me to recognize this facet of my own research. 24. Mieke Bal, Death and Dissymmetry: The Politics of Coherence in the Book of Judges (Chicago, IL: University of Chicago Press, 1988). 25. Ibid., 129. 26. Similarly, I critique reviewers of Minority Report (2002) who focus on the protagonist John Anderton (Tom Cruise) but ignore the film’s gendered violence. 27. Bal, Death and Dissymmetry, 17. 28. Ibid.,18. 29. Ibid., 2. 30. Ibid., 5. 31. Ibid., 3. 32. The term “unruly” gains its feminist cachet from Kathleen Rowe, Unruly Women: Gender and the Genres of Laughter (Austin: University of Texas Press, 1995). 33. Slavoj Žižek uses the term “desubjectivized subjectivity” in the context of a discussion about concentration camp prisoners described as the “living dead.” See his Welcome to the Desert of the Real (New York: Verso, 2002), 138–140. 34. Judith Halberstam, “Imagined Violence/Queer Violence: Representation, Rage, and Resistance,” Social Text 37 (Winter 1993): 187–201. 35. Susan Bordo makes the case for anorexia as feminine protest in Unbearable Weight: Feminism, Western Culture and the Body (Berkeley: University of California Press, 1993). 36. Bronfen, Over Her Dead Body, x. 37. Ibid., 59. 38. Ibid., 255. 39. Foucault writes, “Hence the major effect of the Panopticon: to induce in the inmate a state of conscious and permanent visibility that assures the automatic functioning of power. So to arrange things that the surveillance is permanent in its effects, even if it is discontinuous in its action” (Michel Foucault, 160 Notes

Discipline and Punish: The Birth of the Prison, trans. Alan Sheridan [New York: Vintage Books, 1979], 201). 40. Brian Norman, Dead Women Talking: Figures of Injustice in American Literature (Baltimore, MD: The Johns Hopkins University Press, 2013), 3. 41. Ibid., 17–21. 42. Avery Gordon’s Ghostly Matters: Haunting and the Sociological Imagination (Minneapolis: University of Minnesota Press, 1997), offers a fascinating discussion of the ghost as a figure that powerfully haunts as a means to social justice. Gordon discusses the ghost in relation to Argentina’s desaparecidos (“disappeared”), Toni Morrison’s novel Beloved: A Novel (New York: New American Library, 1987), and Sabina Spielrein. 43. Deborah Jermyn, “You Can’t Keep a Dead Woman Down: The Female Corpse and Textual Disruption in Contemporary Hollywood,” in Images of the Corpse from the Renaissance to Cyberspace, ed. Elizabeth Klaver (Madison: University of Wisconsin Press, 2004), 153–168; Deborah Jermyn, “Women with a Mission: Lynda LaPlante, DCI Jane Tennison and the Reconfiguration of Television Crime Drama,” International Journal of Cultural Studies 6, no. 1 (2003): 46–63. 44. See Creed, The Monstrous Feminine, 29. 45. Elke Weissman, “The Victim’s Suffering Translated: CSI: Crime Scene Investigation and the Crime Genre,” Intensities no. 4 (Autumn/Winter 2007), http://intensitiescultmedia.files.wordpress.com/2012/12/weissmann-victims -suffering-translated.pdf. 46. This idea is inspired by Janey Place’s reading of film noir femme fatales in “Women in Film Noir,” in Women in Film Noir, ed. E. Ann Kaplan (London: British Film Institute, 1978), 35–67. Place theorizes that, despite the containment of the woman via the film’s storyline, what viewers of these films remember is the dynamic though dangerous woman who exercised so much power during the journey of the film. In this, she argues, the woman is in excess of narrative containment. Excellent examples are the crafty Jane Greer as Cathie Moffat, shot dead by Robert Mitchum in Out of the Past (1946), and the too-clever-for-her-own-good Bridget O’Shaughnessy, played by Mary Astor, who is sent off to jail at the end of The Maltese Falcon (1941). 47. Mary, the mother of Christ, is the “mother of sorrows.” See Margaret Bruzelius, “Mother’s Pain, Mother’s Voice: Gabriela Mistral, Julia Kristeva, and the Mater Dolorosa,” Tulsa Studies in Women’s Literature 18, no. 2 (Autumn 1999): 215–233. 48. This is similar to Laura Mulvey’s argument that melodrama acts as a “safety valve.” Melodrama offers women a truth about their lives that should provoke anger, but instead produces tears through identification with the characters. The stories that I examine with images of graphic violence against women have not produced an outcry, but rather desensitization and numbing. In her documentary Miss Representation (2011), Jennifer Siebel Newsom claims that during the decade of the 2000s, depression among women in the United States “more than doubled.” While there are many factors producing this statistic, Notes 161

surely the media battering that women faced during the decade played its part. 49. Isabelle Pinedo, Recreational Terror: Women and the Pleasure of Horror Film Viewing (Albany, NY: State University of New York Press, 1997), 6. 50. Creed, The Monstrous Feminine, 5. 51. Elisabeth Bronfen, “Risky Resemblances: On Representation, Mourning, and Representation,” in Death and Representation, ed. Elisabeth Bronfen and Sarah Webster Goodwin (Baltimore, MD: The Johns Hopkins University Press, 1993), 19. 52. Clover, “Her Body, Himself,” 212. 53. Lindsey Steenberg, Forensic Science in Contemporary Popular Culture: Gender, Crime, and Science (New York: Routledge, 2013), 77–79. 54. Ibid., 79. 55. Manuel Castells, End of Millenium, rev. ed. (Malden, MA: Blackwell Publishers, 1999), 135. 56. Anthony Giddens, Runaway World: How Globalization Is Reshaping Our Lives (New York: Routledge, 2003), 12. 57. Wright, Disposable Women, 3. 58. Ibid., 2. 59. Bales, Disposable People, 19. 60. Chang, Disposable Domestics, 130. 61. Susan Faludi, The Terror Dream: Fear and Fantasy in Post-9/11 America (New York: Metropolitan Books, 2007), 76–78. 62. Ruth La Ferla, “Embrace the Darkness,” New York Times, October 30, 2005. 63. Kristin Rowe-Finkbeiner, The F-Word: Feminism in Jeopardy (Seattle: Seal Press, 2004). 64. David Denby, “A Fine Romance,” The New Yorker, July 23, 2007, http://www .newyorker.com/reporting/2007/07/23/070723fa_fact_denby. 65. Michael Kimmel, Guyland: The Perilous World Where Guys Become Men (New York: HarperCollins, 2008); Daniel Maurer, Brocabulary: The New Man-i- festo of Dude Talk (New York: Collins Living, 2008). 66. Both figures from Dustin Harp, “News, Feminist Theories, and the Gender Divide,” in Women, Men and News: Divided and Disconnected in the News Media Landscape, ed. Paula Poindexter, Sharon Meraz, and Amy Schmitz Weiss (New York: Routledge, 2008), 267. 67. Angela McRobbie, The Aftermath of Feminism: Gender, Culture and Social Change (Los Angeles: Sage Books, 2009), 11. 68. Ibid., 18. 69. Sue Tait, “Autoptic Vision and the Necrophilic Imaginary in CSI,” International Journal of Cultural Studies 9, no. 1 (2006): 45–62. 70. Frank Rich, “A Culture of Death,” New York Times, April 10, 2005. 71. Katrina Onstad, “Horror Auteur Is Unfinished with the Undead,” New York Times, February 10, 2008. 72. Beth Loffreda, Losing Matthew Shepard (New York: Columbia University Press, 2000), x. 162 Notes

2 Film Narratives, Dead Women, and Their Meaning in a Changing World

1. This is the epigraph for Robin Wood’s essay, “Ideology, Genre, Auteur,” in Film Genre Reader, 4th ed., ed. Barry Keith Grant (Austin: University of Texas Press, 2012), 78. Wood borrows the line from a character in Pier Paulo Pasolini’s Arabian Nights (1974). 2. This formulation echoes similar themes that Laura Saltz examines in nineteenth-century American literature, especially the work of Edgar Allan Poe. Her interest is in the “cultural stakes of women’s visibility.” See Disappearing Women: Gender and Vision in Nineteenth-Century American Fiction and Photographs (PhD dissertation, Yale University, 1997), 6. 3. Raewyn Connell, “A Thousand Miles from Kind: Men, Masculinities and Modern Institutions,” The Journal of Men’s Studies 16, no. 3 (Fall 2008): 243. 4. David Holloway, Cultures of the War on Terror: Empire, Ideology and the Remaking of 9/11 (Montreal: McGill-Queens University Press, 2008), 80. 5. Michael Ryan and Douglas Kellner, “Technophobia/Dystopia,” in Liquid Metal: The Science Fiction Film Reader, ed. Sean Redmond (London: Wallflower Press, 2004), 53. 6. Teresa De Lauretis, Alice Doesn’t: Feminism, Semiotics, Cinema (Bloomington: Indiana University Press, 1984), 119. 7. Mieke Bal, Death and Dissymmetry: The Politics of Coherence in the Book of Judges (Chicago, IL: University of Chicago Press, 1988), 17–18. 8. Ibid., 17. 9. Ibid., 32–33. 10. Ibid., 38. Bal defines fabula as “the technical term for the series of events that are presented in the story” (footnote 46, p. 260). 11. Andreas Huyssen, “The Vamp and the Machine: Fritz Lang’s Metropolis,” in After the Great Divide: Modernism, Mass Culture, Postmodernism (Bloomington: Indiana University Press, 1986), 70–72. 12. I thank an anonymous reviewer for suggesting that I develop this point. 13. Bal, Death and Dissymmetry, 1; Barbara Creed, The Monstrous Feminine: Film, Feminism, Psychoanalysis (New York: Routledge, 1993), 149. 14. Sarah Goodwin and Elisabeth Bronfen, introduction to Death and Representation, ed. Sarah Goodwin and Elisabeth Bronfen (Baltimore, MD: The Johns Hopkins University Press, 1993), 13. 15. In these questions avid viewers of the feminist canon can hear echoes of the character Mimi from Sally Potter’s Thriller (1979). 16. He writes, “Classical fictional cinema . . . has the crucial opposition between spoken discourses which may be mistaken and a visual discourse which guar- antees truth—which reveals all. For this opposition to be set up, the spectator must be placed in a position from which the image is regarded as primary” (Colin MacCabe, “Theory and Film: Principles of Realism and Pleasure,” in Narrative, Apparatus, Ideology: A Film Theory Reader, ed. Philip Rosen [New York: Columbia University Press, 1986], 182). Notes 163

17. Steven Shaviro, The Cinematic Body (Minneapolis: University of Minnesota Press, 1993), 50, quoted in Alison Landsberg, Prosthetic Memory: The Transformation of American Remembrance in the Age of Mass Culture (New York: Columbia University Press, 2004), 126. 18. Raewyn Connell, “Masculinities, Change, and Conflict in Global Society: Thinking about the Future of Men’s Studies,” The Journal of Men’s Studies 11, no. 3 (Spring 2003): 259. 19. I draw this term from Kathleen Rowe’s Unruly Women: Gender and the Genres of Laughter (Austin: University of Texas Press, 1995). 20. Richard Dyer, “Resistance through Charisma: Rita Hayworth and Gilda,” in Women in Film Noir, ed. E. Ann Kaplan (London: British Film Institute, 1978), 91–97. 21. Janey Place, “Women in Film Noir,” in Women in Film Noir, ed. E. Ann Kaplan (London: British Film Institute, 1978), 35–67. 22. Paul Smith, “Millennial Man,” American Literary History 10, no. 4 (Winter 1998): 733. 23. Moisés Naim, “The Five Wars of Globalization,” Foreign Policy, no. 134 (January –February 2003): 228–237. 24. Julia Sudbury, “Celling Black Bodies: Black Women in the Global Prison Industrial Complex,” in “Globalization,” ed. Avtar Brah, Helen Crowley, Lyn Thomas, and Merl Storr, special issue, Feminist Review, no. 70 (2002): 72. 25. Thomas Elsaesser and Warren Buckland, “Oedipal Narratives and the Post- Oedipal,” in Studying Contemporary American Film: A Guide to Movie Analysis (New York: Oxford University Press, 2002), 245. 26. Ibid., 220–248. 27. See my essay “Minority Report: Narrative, Images and Dead Women,” Women’s Studies: An Interdisciplinary Journal 36, no. 4 (June 2007): 238–240. 28. Eve Sidney Matrix, “Cyberfigurations: Constructing Cyberculture and Virtual Subjects in Popular Media” (PhD dissertation, University of Minnesota, 2002). 29. Ibid. 30. Tim Blackmore, “High on Technology—Low on Memory: Cultural Crisis in Dark City and The Matrix,” Canadian Review of American Studies 34, no. 1 (2004): 44. 31. Margaret Dikovitskaya, “An Interview with W. J. T. Mitchell,” in Visual Culture: The Study of the Visual after the Cultural Turn (Cambridge, MA: The MIT Press, 2005), 238. 32. The expression “ruined body” comes from Isabelle Pinedo, Recreational Terror: Women and the Pleasure of Horror Film Viewing (Albany, NY: State University of New York Press), 6. 33. Sue Tait, “Autoptic Vision and the Necrophilic Imaginary in CSI,” International Journal of Cultural Studies 9, no. 1 (2006): 49. 34. Manuel Castells, The Power of Identity, 2nd ed. (Malden, MA: Blackwell Publishers, 2004), 87. 35. Ibid., 90. 36. Ibid., 87–90. 164 Notes

37. See William Pierce [Andrew MacDonald, pseud.], The Turner Diaries (Arlington, VA: National Vanguard Books, 1978). 38. Darko Suvin, Metamorphoses of Science Fiction: On the Poetics and History of a Literary Genre (New Haven, CT: Yale University Press, 1979), 63. 39. David Bordwell, “Film Futures,” in “The American Production of French Theory,” special issue 97, SubStance 31, no. 1 (2002): 88. 40. Ruth La Ferla, “Embrace the Darkness,” New York Times, October 30, 2005, http://www.nytimes.com/2005/10/30/fashion/sundaystyles/30GOTH.html. 41. Roger Ebert, review of Corpse Bride, Chicago Sun-Times, September 22, 2005, http://www.rogerebert.com/reviews/tim-burtons-corpse-bride-2005. 42. Kathy Maio, “A Labor of Love—And Thumbs” Fantasy and Science Fiction 110, no. 3 (March 2006): 118, http://www.sfsite.com/fsf/2006/km0603.htm. 43. Manohla Dargis, “It’s a Dead Scene, but That’s a Good Thing” review of Corpse Bride, New York Times, September 16, 2005. 44. Richard Dyer, Only Entertainment (London: Routledge, 1992), 26. 45. Stephanie Coontz, Marriage, a History: From Obedience to Intimacy, or How Love Conquered Marriage (New York: Viking, 2005), 4. 46. Ibid., 278. 47. Manuel Castells, End of Millennium, rev. ed. (Malden, MA: Blackwell Publishers, 1999), 369. 48. Coontz, Marriage, a History, 5. 49. In this respect, I am reminded of Pam Cook’s discussion of the film Mildred Pierce (1945). She writes, “Mildred Pierce is interesting for the ways in which it signifies its problematic: the historical need to reconstruct an economy based on a division of labor by which men command the means of production and women remain within the family, in other words the need to reconstruct a failing patriarchal order” (Pam Cook, “Duplicity in Mildred Pierce,” in Women in Film Noir, ed. E. Ann Kaplan [London: British Film Institute, 1978], 68). Corpse Bride attempts to reconstruct and recuperate the failing institution of marriage. 50. Thomas Schatz, Hollywood Genres: Formulas, Filmmaking, and the Studio System (New York: McGraw Hill, 1981), 34. 51. Jack Zipes, Happily Ever After: Fairy Tales, Children, and the Culture Industry (New York: Routledge, 1997), 67. 52. Vladimir Propp, Morphology of the Folk Tale, 2nd. ed., trans. Laurence Scott (Austin: University of Texas Press, 1968), 25–65. 53. Carol Margaret Davison, “Haunted House/Haunted Heroine: Female Gothic Closets in ‘The Yellow Wallpaper,’” Women’s Studies 33, no. 1 (January– February 2004): 48. 54. Naomi Pfefferman, “Tim Burton’s Corpse Bride Has Jewish Bones,” J. (The Jewish Weekly of California), September 15, 2005, http://www.jweekly.com /article/full/27073/tim-burton-s-corpse-bride-has-jewish-bones. 55. Creed, The Monstrous Feminine. 56. This version of the Jewish folktale is at “The Corpse Bride—Original Folk Tale,” Fanpop, http://www.fanpop.com/clubs/corpse-bride/articles/25417/title /corpse-bride-original-folk-tale. Another version of the tale ends with the corpse bride dying again and being reburied after a rabbi annuls her marriage Notes 165

to the bridegroom. See Howard Schultz, “The Finger,” in Lilith’s Cave: Jewish Tales of the Supernatural, ed. Howard Schultz (New York: Oxford University Press, 1988), 51–54. 57. Charles Hinnant, “Jane Austen’s ‘Wild Imagination’: Romance and the Courtship Plot in the Six Canonical Novels,” Narrative 14, no. 3 (October 2006): 294. 58. Cristina Bacchilega, Postmodern Fairy Tales: Gender and Narrative Strategies (Philadelphia: University of Pennsylvania Press, 1997), 23. Bacchilega also utilizes Mieke Bal’s reading method and examines efforts by feminist writers such as Angela Carter and Margaret Atwood to undermine or refigure fairy tales from a woman’s perspective. 59. Maio, “A Labor of Love,” 117. 60. Fredric Jameson, Postmodernism, or, The Cultural Logic of Late Capitalism (London: Verso, 1991), 20. 61. Sarah Thomas, Peter Lorre: Face Maker. Stardom and Performance between Hollywood and Europe (New York: Berghahn Books, 2012), 2. 62. Maio, “A Labor of Love,” 117. 63. Kerry Bennett, review of Corpse Bride, September 19, 2005, http://www .parentpreviews.com/movie-reviews/corpse-bride.shtml. 64. James Berardinelli, review of Corpse Bride, ReelViews, September 15, 2006, www.reelviews.net/movies/c/corpse_bride.html. 65. Kevin Lally, “Bride and Gloom: Mike Johnson and Tim Burton Preside over Ghoulish Nuptials,” Film Journal International 108, no. 10 (October 2005): 10–12. 66. Bacchilega, Postmodern Fairy Tales, 3. 67. Jeffrey Kitts Bone, “Understanding Mothers’ Monitoring of Late Latency and Early Adolescent Sons’ Video Game Playing: Based on Object Relations, Locus of Control, Family Rules and Attitudinal Perspectives” (PhD Dissertation, Alliant International University, 2003), 111. 68. Maio, “A Labor of Love,” 119. 69. Ebert, review of Corpse Bride. 70. Maio, “A Labor of Love,” 119. 71. Elsaesser and Buckland, “Oedipal Narratives and the Post-Oedipal,” 245. 72. Peter Travers, review of Tim Burton’s Corpse Bride, Rolling Stone, no. 983 (September 22, 2005): 115. 73. Ebert, review of Corpse Bride. 74. Julia Kristeva, Powers of Horror: An Essay in Abjection (New York: Columbia University Press, 1982), 2.

3 Family Films Gone Terribly Wrong: THE LOVELY BONES and DISTURBIA

1. Alice Sebold, The Lovely Bones (New York: Little, Brown and Company, 2002). 2. Mieke Bal, Death and Dissymmetry: The Politics of Coherence in the Book of Judges (Chicago, IL: University of Chicago Press, 1988), 17. 166 Notes

3. Stephanie Bunbury, “Something in Between,” The Age (Melbourne, Australia), December 26, 2009, http://www.theage.com.au/entertainment/movies/something -in-between-20100218-og3m.html. 4. Pamela McClintock, “Fresh Promo Push Strengthens ‘Bones,’” Daily Variety 306, no. 12 (January 19, 2010): 12. 5. Tony Williams, Hearths of Darkness: The Family in the American Horror Film (Madison, NJ: Fairleigh Dickinson University Press, 1996), 16. 6. Ibid., 254. 7. Brian Jarvis, “Monsters Inc.: Serial Killers and Consumer Culture,” Crime, Media, Culture 3, no. 3 (2007): 327. 8. Ibid., 328. 9. “According to case histories and psychological profiles, serial killers them- selves are often avid consumers of films and books about serial killing. At the same time, the fictional monstrous murderers in popular culture, from Norman Bates to Hannibal Lecter, are often modelled on historical figures” (Jarvis, “Monsters Inc.,” 328). Why this boomerang effect does not give pro- ducers pause or consumers any less “pleasure” in their consumption of these tales is something to ponder; it suggests that the ideological and gendered functions of filmic dead women that I point to might also be operative. 10. Ibid. 11. Fifteen years after acting in Manhunter, William Petersen would go on to star in the television series CSI: Crime Scene Investigation, which I discuss in the next chapter. 12. Manhunter is based upon Thomas Harris’s original novel Red Dragon, in which these characters appear. As previously noted, Harris also wrote the novel Silence of the Lambs. Williams, Hearths of Darkness, 255. 13. Williams, Hearths of Darkness, 258–259. 14. Jarvis, “Monsters Inc.,” 332–333. 15. Ibid., 333. 16. Williams, Hearths of Darkness, 187. 17. Julie Passanante Elman, “After School Special Education: Rehabilitative Television, Teen Citizenship, and Compulsory Able-Bodiedness,” Television & New Media 11, no. 4 (July 2010): 263. 18. The incessant repetition of these serial-killer-shatters-lives tales in films and television shows seems to suggest that serial killers are generically American. According to Sonia Baelo Allué, who cites 1995 figures, “The US boasts 74% of the world’s serial killers.” “The Aesthetics of Serial Killing: Working against Ethics in The Silence of the Lambs (1988) and American Psycho (1991),” Atlantis (Salamanca, Spain) 24, no. 2 (December 2002): 8. 19. Steve Pratt, “Cinema—Lovely Murder,” Northern Echo (Darlington, UK), February 18, 2010, ProQuest (329290119). 20. Stephen Rea, “A Tale Overpowered by Technology,” review of The Lovely Bones, Philadelphia Inquirer, January 15, 2010, http://articles.philly.com/2010-01-15 /entertainment/24956194_1_middle-earth-trilogy-heavenly-creatures-susie -salmon. 21. Elman, “After School Special Education,” 261. Notes 167

22. Ibid. 23. Ibid. 24. Ibid., 262. 25. In fact, the extreme nature of this plot device—the serial killer must be sum- moned to move a teenager from his immature “boys will be boys” mentality to proper adulthood/citizenship—suggests that in an era awash in sexualized imagery, violent video games, and a lack of patriarchal guidance, this trajec- tory is accomplished with difficulty. 26. Neil Badmington, “Theorizing Posthumanism,” Cultural Critique 53 (Winter 2003): 13. 27. Sebold, The Lovely Bones, 26. 28. Ibid., 190. 29. John Petrakis, review of The Lovely Bones, The Christian Century 127, no. 2 (January 26, 2010): 44, ProQuest (217242084). 30. George Lang, “Director Peter Jackson Eliminated Gruesome Aspects to Make The Lovely Bones More Accessible,” The Oklahoman (Oklahoma City), January 15, 2010, http://newsok.com/director-peter-jackson-eliminated-gruesome-aspects-to -make-the-lovely-bones-more-accessible/article/3432088. 31. Bunbury, “Something in Between.” 32. This is the cover image caption on the DVD, quoting the New York Observer film critic Rex Reed. 33. Charlotte Abbott, “How about Them Bones?” Publishers Weekly 249, no. 30 (July 29, 2002), http://www.publishersweekly.com/pw/print/20020729/21734 -how-about-them-bones.html. 34. Sarah Whitney, “Uneasy Lie the Bones: Alice Sebold’s Postfeminist Gothic,” Tulsa Studies in Women’s Literature 29, no. 2 (Fall 2010): 351. 35. Alice Sebold, Lucky (New York: Scribner, 1999), 33–34. 36. Ibid., prologue. 37. Alice Sebold, interview by Terry Gross, Fresh Air, NPR, July 10, 2002, http:// www.wbur.org/npr/121292327. 38. According to Randal Johnson, editor of sociologist Pierre Bourdieu’s The Field of Cultural Production, “habitus” is Bourdieu’s term to describe “a long process of inculcation, beginning in early childhood, which becomes a ‘second sense’ or a second nature. According to Bourdieu’s definition the dispositions rep- resented by the habitus are ‘durable’ in that they last throughout the agent’s lifetime.” The dispositions, writes Randal, are “not always calculated” but generate “practices and perceptions” (Randal Johnson, “Editor’s Introduction: Pierre Bourdieu on Art, Literature, and Culture,” in Pierre Bourdieu, The Field of Cultural Production: Essays on Art and Literature, ed. Randal Johnson [New York: Columbia University Press, 1993], 5). 39. Whitney, “Uneasy Lie the Bones,” 351. 40. Tyra Banks’s quote and a gallery of the photos of models posing as dead women is at “America’s Next Top Model 8: Week Four: Crime Scene Victims,” Zap 2 it: What to watch Where to watch it, http://www.zap2it.com/photos/zap -photogallery-antm8-crimescenevictims. Jennifer Pozner, director of the advocacy group Women In Media and News, stresses that the ANTM episode 168 Notes

“serves as a sharp reminder that what millions of reality TV viewers believe to be harmless fluff . . . is . . . the cultural arm of current political backlash against women’s rights” (Jennifer Pozner, “Evil Dead: Feminist Bloggers Bring the Hammer Down on Top Model Necrophilia,” Bitch Magazine: Feminist Response to Pop Culture, no. 36 [Summer 2007]: 14). 41. This is apt phrasing of an anonymous peer reviewer of this manuscript. 42. Sebold, The Lovely Bones, 18. 43. This scene is more problematic in the film version than in the novel because, as Pier Paolo Pasolini avers, “images are always concrete” (quoted in Charles S. Tashiro, Pretty Pictures: Production Design and the History of Film [Austin: University of Texas Press, 1998], 12). In the film, Susie remains 14, while her classmate Ray has matured. I agree with the reviewer Richard Alleva, who opines, “The scene was embarrassing enough in print but the movie verges on the obscene as the twenty-two-year-old Ruth morphs into the fourteen-year- old Susie with the adult Ray on top of her. What was Peter Jackson thinking?” (“Restless Spirits: The Lovely Bones & A Single Man,” Commonweal 137, no. 3 [February 12, 2010]: 18. Other writers, including the anonymous peer reviewer of this manuscript, note that the scene has a queer resonance as written and filmed. Elizabeth Tallent writes, “What does Susie want with her friend’s body? Because her rapist murderer deprived her not only of any future experience of sex but also of her virginity, Susie wants to have sex with a cho- sen boy, and not just any sex, loss of virginity sex . . . The particular body bor- rowed by Susie in order to experience the loss of virginity has been carefully constructed as lesbian . . . Is a lesbian body, by virtue of not ‘belonging’ to any male, more available for appropriation?” (“The Trouble with Postmortality,” Threepenny Review, no. 101 [Spring 2005]: 8). 44. Avery Gordon, Ghostly Matters: Haunting and the Sociological Imagination (Minneapolis: University of Minnesota Press, 1997), 63. 45. John Durham Peters, “Witnessing,” Media, Culture & Society 23, no. 6 (2001): 709; emphases in the original. 46. Sebold, The Lovely Bones, 114. 47. Peters, “Witnessing,” 722. 48. Nina C. Leibman, “Piercing the Truth: Mildred and Patriarchy,” Text and Performance Quarterly 8, no. 1 (November 1988): 41. 49. Pier Paolo Pasolini, quoted in Tashiro, Pretty Pictures, 12. 50. The “double-voiced” aspect of the musical track is a convention of melodrama and a symptom of its system of excess. See my essay “Twelve Characters in Search of a Televisual Text: Magnolia Masquerading as Soap Opera,” Journal of Popular Film and Television 33, no. 3 (Fall 2005): 145. 51. Whitney, “Uneasy Lie the Bones,” 352. 52. Frances L. Restuccia, quoted in Margaret Carol Davison, “Haunted House/ Haunted Heroine: Female Gothic Closets in ‘The Yellow Wallpaper,’” Women’s Studies 33, no. 1 (January–February 2004): 53. 53. In fact, the novel gives Susie agency in a similar occurrence with Ruth: “Like a phone call from the jail cell, I brushed by Ruth Connors—wrong number, accidental call. I saw her standing there near Mr. Botte’s red and rusted Fiat. Notes 169

When I streaked by her, my hand leapt out to touch her, touch the last face, feel the last connection to Earth in this not-so-standard issue teenage girl” (Sebold, The Lovely Bones, 37). 54. Gordon, Ghostly Matters, 64; emphasis in the original. 55. Bunbury, “Something in Between.” 56. Ibid. 57. Laura-Marie von Czarnowsky, “The Postmortal Rape Survivor and the Paradox of Female Agency across Different Media: Alice Sebold’s Novel The Lovely Bones and Its 2009 Film Adaptation,” Gender Forum 41 (2013): 2. 58. Danny Munso, “Life after Death,” Creative Screenwriting 16, no. 6 (November/ December 2009): 36. 59. Story details from the Honora Rieper murder are from Ian Pryor, “A Different Kind of Murder: Heavenly Creatures,” in Peter Jackson: From Prince of Splatter to Lord of the Rings (New York: Thomas Dunne Books/St. Martin’s Press, 2004), 130. 60. McClintock, “Fresh Promo Push Strengthens ‘Bones.’” 61. Alan Levine, “Bad Old Days”: The Myth of the 1950s (New Brunswick, NJ: Transaction Publishers, 2008), 124. 62. Ronald D. Cohen, “The Delinquents: Censorship and Youth Culture in Recent U.S. History,” History of Education Quarterly 37, no. 3 (Fall 1997): 255. Cohen is also quoting Richard E. Gordon, Katherine K. Gordon and Max Gunther, The Split-Level Trap (New York, 1960), 142. 63. Sara Stewart, “Double Takes: Teen Thriller Replicates Scenes from Classics,” New York Post, April 8, 2007. 64. Robert Corber, “Resisting History: Rear Window and the Limits of the Postwar Settlement,” boundary 2 19, no. 2 (Spring 1992): 137–145. 65. Hitchcock’s “exchange (or interchangeability) of guilt” is noted in Robin Wood, “Ideology, Genre, Auteur,” in Film Genre Reader IV, 4th ed., ed. Barry Keith Grant (Austin: University of Texas Press, 2012), 86. 66. See John Belton, “Introduction: Spectacle and Narrative,” in Alfred Hitchcock’s Rear Window, ed. John Belton (New York: Cambridge University Press, 2000), for a discussion of the reflexive aspects of Rear Window and attendant lore about the film. 67. Natasha Walter, “Why Is There So Much Movie Violence against Women?” The Guardian, June 3, 2010, http://www.theguardian.com/film/2010/jun/03 /women-violence-killer-inside-me-feminism. 68. Lisa de Moraes, “TV Networks Flock to Serial Killer Dramas to Scare Up Viewers” Washington Post, February 12, 2013, http://www.washingtonpost .com/lifestyle/style/tv-networks-flock-to-serial-killer-dramas-to-scare-up -viewers/2013/02/12/ffffb4e4-7562-11e2-95e4-6148e45d7adb_story.html. 69. Allué, “The Aesthetics of Serial Killing,” 7–24. While Allué is discussing the novels, not the films, her reading aligns with the films I analyze here. 70. Elman, “After School Special Education,” 265. 71. Douglas Tseng, “To the Dark Side and Back,” The Strait Times (Singapore), August 1, 2007. 72. Sebold, The Lovely Bones, 130. 170 Notes

73. See Jane Caputi, “The Sexual Politics of Murder,” in Violence against Women: The Bloody Footprints, ed. Pauline B. Bart and Eileen Geil Morgan (Newbury Park, CA: Sage, 1993), 5. 74. Although I am aware of the “pornography wars” among feminists in the late 1970s and early 1980s, what I am concerned with here is violent pornography, and I strongly believe that this kind of porn is a privilege and tactic of the dominant. Women are not socially dominant. For a discussion of these issues, see Diana E. H. Russell, ed., Making Violence Sexy: Feminist Views on Pornography (New York: Teachers College Press, 1993); Laura Kipnis, Bound and Gagged: Pornography and Fantasy in America (New York: Grove Press, 1996); Alison Assiter and Carol Avedon, eds., Bad Girls and Dirty Pictures: The Challenge to Reclaim Feminism (London: The Pluto Press, 1993); and Linda Williams, “Film Bodies: Gender, Genre and Excess,” in Film Theory and Criticism: Introductory Readings, 6th ed., ed. Leo Braudy and Marshall Cohen (New York: Oxford University Press, 2004), 727–741. 75. Jane Caputi and Diana Russell, “Femicide: Sexist Terrorism against Women,” in Femicide: The Politics of Women Killing, ed. Jill Radford and Diana Russell (Toronto: Maxwell Macmillan, 1992), 19. 76. Max Waltman, “Rethinking Democracy: Legal Challenges to Pornography and Sex Inequality in Canada and the United States,” Political Research Quarterly 63, no. 1 (March 2010): 218–219. 77. Jill Radford and Diana Russell, eds., Femicide: The Politics of Women Killing (Toronto: Maxwell MacMillan, 1992), 207. 78. Catherine MacKinnon, Are Women Human? And Other International Dialogues (Cambridge, MA: Harvard University Press, 2006), 86. 79. Robert K. Ressler, Ann W. Burgess, and John E. Douglas, Sexual Homicide: Patterns and Motives (Lexington, MA: Lexington Books, 1988), referenced in Jane Caputi, “Advertising Femicide: Lethal Violence against Women in Pornography and Gorenography,” in Femicide: The Politics of Women Killing, ed. Jill Radford and Diana Russell (Toronto: Maxwell Macmillan, 1992), 215–216. 80. Diana Russell, “Introduction: The Politics of Femicide,” in Femicide in Global Perspective, ed. Diana E. H. Russell and Roberta A. Harmes (New York: Teachers College Press, 2001), 3. 81. Beth Prinz, review of Femicide: The Politics of Women Killing, by Jill Radford and Diana Russell, eds., Feminist Teacher 8, no. 3 (Fall/Winter 1994): 151. 82. A wonderfully critical editorial in The Seattle Times written by a 17-year-old high school teenager calls out the mainstream media for its coverage of women and its failure to talk back to sexism on Facebook, where one group entitled “Slut” has “581, 845 likes.” Grace Gedye, “The Rise of Sexism and Misogyny in a Facebook Era,” The Seattle Times, April 17, 2013. 83. Jamie Portman, “Wet Bikini Shots Left Disturbia Star Disturbed,” The Vancouver Sun (Vancouver, British Columbia), April 26, 2007. 84. Lawrence Grossberg, We Gotta Get Out of This Place: Popular Conservatism and Postmodern Culture (New York: Routledge, 1992), 11. Notes 171

4 Television Narratives and Dead Women: Channeling Change

1. Eve Sidney Matrix, “Cyberfigurations: Constructing Cyberculture and Virtual Subjects in Popular Media” (PhD dissertation, University of Minnesota, 2002), iii. 2. Ibid., 108–136. 3. Paul Rincon, “CSI Shows Give ‘Unrealistic View.’” BBC News, February 21, 2005, accessed September 17, 2006, http://news.bbc.co.uk/2/hi/science /nature/4284335.stm. 4. Ibid. 5. George mockingly parodies the popular 1990s teen angst program “My So-Called Life” (“Pilot” #1–01), in a way referencing the difference that a decade makes to the “structure of feeling” of an era. 6. Susan Faludi, The Terror Dream: Fear and Fantasy in Post-9/11 America (New York: Metropolitan Books, 2007), 1–7. 7. Howard F. Stein, “Days of Awe: September 11, 2001 and Its Cultural Psychodynamics,” Journal for the Psychoanalysis of Culture and Society 8, no. 2 (Fall 2003): 198. 8. Jeremy Gilbert, Anticapitalism and Culture: Radical Theory and Popular Politics (New York: Berg, 2008), 169. 9. Rick Altman, “Television/Sound,” in Studies in Entertainment: Critical Approaches to Mass Culture, ed. Tania Modleski (Madison: University of Wisconsin Press, 1986), 29–54 10. Richard Dienst, Still Life in Real Time: Theory after Television (Durham, NC: Duke University Press, 1995), 31. 11. Lynn Spigel, “Entertainment Wars: Television Culture after 9/11,” American Quarterly 56, no. 2 (2004): 237. 12. While I argue that television as an institution did cultural work to help man- age the 9/11 crisis, I also recognize that during and immediately after the 9/11 attacks, television networks disrupted regular programming for a week and lost “$320 million in advertising revenue,” according to Lynn Spigel (ibid.). 13. Ibid. 14. For a discussion of CSI as “quality,” see Ian Goode, “CSI: Crime Scene Investigation: Quality, the Fifth Channel, and ‘America’s Finest,’” in Quality TV: Contemporary American Television and Beyond, ed. Janet McCabe and Kim Akkas (London: I.B. Tauris, 2007). 15. Lynn Joyrich, “All That Television Allows: TV Melodrama, Postmodernism, and Consumer Culture,” Camera Obscura 16 (1988): 129. 16. Ibid., 130–131. 17. Ibid., 131. 18. Linda Williams, “Film Bodies: Gender, Genre and Excess,” in Film Theory and Criticism: Introductory Readings, 6th ed., ed. Leo Braudy and Marshall Cohen (New York: Oxford University Press, 2004), 737. 172 Notes

19. Laura Mulvey, “Notes on Sirk and Melodrama,” in Visual and Other Pleasures (Bloomington: Indiana University Press, 1989), 39. 20. As I discuss in chapter 5, the inheritors are also the real-life single (white) women who become the subjects of spectacularly mediated news stories due to their deaths. 21. I gloss Linda Williams’s essay title, “‘Something Else Besides a Mother’”: Stella Dallas and the Maternal Melodrama.” Cinema Journal 24, no. 1 (Autumn 1984): 2–27. 22. Shane Gunster, “All about Nothing: Difference, Affect, and Seinfeld.” Television & New Media 6, no. 2 (2005): 213. 23. Sue Tait, “Autoptic Vision and the Necrophilic Imaginary in CSI,” International Journal of Cultural Studies 9, no. 1 (2006): 52. 24. This ever-repeating through-line also appears in news stories about missing/ dead women that I discuss next in chapter 5. 25. Melissa Wright, Disposable Women and Other Myths of Global Capitalism (New York: Routledge, 2006). 26. Tait, “Autoptic Vision and the Necrophilic Imaginary,” 53. 27. Rincon, “CSI Shows Give ‘Unrealistic View.’” 28. Solomon Moore, “Science Found Wanting in Nation’s Crime Labs,” New York Times, February 5, 2009. 29. Donna Haraway, “Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective,” Feminist Studies 14, no. 3 (Fall 1988): 575, 581. 30. Tait, “Autoptic Vision and the Necrophilic Imaginary,” 49. 31. Mary Ann Doane, The Desire to Desire: The Woman’s Film of the 1940s (Bloomington: Indiana University Press, 1987). 32. Anne Freidberg, “Cinema and the Postmodern Condition,” in Viewing Positions: Ways of Seeing Film, ed. Linda Williams (New Brunswick, NJ: Rutgers University Press, 1994), 74–76; emphases in the original. 33. Laura Mulvey, “Visual Pleasure and Narrative Cinema,” in Visual and Other Pleasures (Bloomington: Indiana University Press, 1989), 22. 34. Alessandra Stanley, “Inspired by the Movies, and Buoyed by Terror,” New York Times, September 16, 2005. 35. Margaret Dikovitskaya, “An Interview with W. J. T. Mitchell,” in Visual Culture: The Study of the Visual after the Cultural Turn (Cambridge, MA: The MIT Press, 2005), 238. 36. I am appropriating Roland Barthes’s theorizing on the still photographic image to describe a moving cinematographic image. See Roland Barthes, Camera Lucida: Reflections on Photography, trans. Richard Howard (New York: Hill and Wang, 1981). Barthes writes, “To recognize the studium is inevitably to encounter the photographer’s intentions, to enter into harmony with them, to approve or disapprove of them, but always to understand them, to argue with them myself, for culture (from which the studium derives) is a contract arrived at between creators and consumers” (27–28; emphasis in the original). In contrast, “The second element which will disturb the studium I shall there- fore call the punctum; for punctum is also: sting, speck, cut, little hole—and Notes 173

also cast of the dice. A photograph’s punctum is that accident which pricks me (but also bruises me, is poignant to me)” (27). In another effort to explain the distinction, Barthes notes, “The studium is ultimately always coded; the punctum is not” (51). In film, that which is coded supplies a coherent or pre- ferred reading, and what is uncoded (or insufficiently coded) stands out for the viewer. 37. Judith Butler, Bodies That Matter: On the Discursive Limits of “Sex” (New York: Routledge, 1993), 3. 38. For example, see L. Rowell Huesmann and Lucyna Kirwil, “Why Observing Violence Increases the Risk of Violent Behavior by the Observer,” in The Cambridge Handbook of Violent Behavior and Aggression, ed. Daniel J. Flannery, Alexander T. Vazsonyi, and Irwin D. Waldman (Cambridge: Cambridge University Press, 2007), 545–570. 39. Tait, “Autoptic Vision and the Necrophilic Imaginary,” 50. 40. Floyd Dell attacked those whose support for more fulfilling roles for women in marriage extended to advocacy for what he considered extreme forms of female independence such as lesbianism. See Stephanie Coontz, Marriage, A History: From Obedience to Intimacy, or How Love Conquered Marriage (New York: Viking, 2005), 249; and Jennifer Terry, An American Obsession: Science, Medicine, and Homosexuality in Modern Society (Chicago, IL: University of Chicago Press, 1999), 125. I argue that conservative critiques of feminism have taken an extreme form through the use of visual imagery in popular culture. 41. Thomas Doherty, “Gender, Genre and the Aliens Trilogy,” in The Dread of Difference: Gender and the Horror Film, ed. Barry Keith Grant (Austin: University of Texas Press, 1996), 168. 42. Colin MacCabe, “Theory and Film: Principles of Realism and Pleasure,” in Narrative, Apparatus, Ideology: A Film Theory Reader, ed. Philip Rosen (New York: Columbia University Press, 1986), 182. 43. Norman Bryson, Looking at the Overlooked: Four Essays on Still Life Painting (Cambridge, MA: Harvard University Press, 1990). 44. Linda Williams, Hard Core: Power, Pleasure, and the “Frenzy of the Visible” (Berkeley: University of California Press, 1999); Laura Kipnis, Bound and Gagged: Pornography and Fantasy in America (New York: Grove Press, 1996). 45. Michael Roemer, Telling Stories: Postmodern Narratives and the Invalidation of Traditional Narrative (Lanham, MD: Rowman and Littlefield Publishers, 1995). 46. Tom Gilbert, “Trying to Resurrect the ‘Dead,’” Television Week 24, no. 45 (November 7, 2005), 2. 47. John Howard Griffin, Black Like Me (Boston: Houghton Mifflin, 1961). I thank Alison Landsberg for bringing this title to my attention. 48. Faludi, The Terror Dream, 5. 49. Carol J. Clover, “Her Body, Himself: Gender in the Slasher Film,” Representations 20 (Autumn 1987): 204, 214. 50. Jessica Willis, “Sexual Subjectivity: A Semiotic Analysis of Girlhood, Sex, and Sexuality in the Film Juno,” Sexuality & Culture 12, no. 4 (December 2008): 242. 174 Notes

51. An interview with Sheila Moody is in Stephen Lofgren, ed., Then Came the Fire: Personal Accounts from the Pentagon, 11 September 2001 (Washington, DC: U.S. Army Center of Military History, 2011), 32–35. 52. Robin Wood, Hollywood from Vietnam to Reagan (New York: Columbia University Press, 1986), 165. 53. Diana Fuss, “The Phantom Spectator,” in “Violence, Space,” ed. Mark Wigley, special issue, Assemblage, no. 20 (April 1993): 38. 54. Neil Badmington, “Theorizing Posthumanism,” Cultural Critique 53 (Winter 2003): 13. 55. Slavoj Žižek, Welcome to the Desert of the Real (New York: Verso, 2002), 45. 56. Francis Fukuyama, The End of History and the Last Man (New York: Free Press, 1992). 57. Susan Sontag, “The Imagination of Disaster,” in Liquid Metal: The Science Fiction Film Reader, ed. Sean Redmond (London: Wallflower Press, 2004), 47. 58. Ibid. 59. Constance Penley, “Time Travel, Primal Scene and the Critical Dystopia,” in Liquid Metal: The Science Fiction Film Reader, ed. Sean Redmond (London: Wallflower Press, 2004): 126. 60. David Levering Lewis, “In Morocco,” The American Scholar 71, no. 1 (Winter 2002), 40. 61. Carl Rotella, “Affliction.” The American Scholar 71, no. 1 (Winter 2002): 49–50. 62. Stein, “Days of Awe,” 188. 63. Imelda Whelehan, Overloaded: Popular Culture and the Future of Feminism (London: The Women’s Press, 2000), 67. 64. Tamara Goeddertz and Marwan M. Kraidy, “The ‘Battle in Seattle’: U.S. Prestige Press Framing of Resistance to Globalization,” in The Globalization of Corporate Media Hegemony, eds. Lee Artz and Yahya R. Kamalipour (Albany: State University of New York Press, 2003), 80.

5 News-Mediated Narratives of Disappearance: Chandra Levy, Laci Peterson, Natalee Holloway, and Conventions of Dead Women in the News

1. Quoted in Timothy W. Maier, “Levy Leaves Few Clues Behind,” Insight on the News 17, no. 28 (July 30, 2001): 27. 2. Pierre Bourdieu theorizes that habitus is the sedimentation of ideological val- ues gained from the day-to-day environment—from having grown up in the same place, with the same neighbors, and in the same social class. The knowledges and dispositions of a society are routinized and naturalized phenomena. See Pierre Bourdieu, Distinction: A Social Critique of the Judgment of Taste (Cambridge, MA: Harvard University Press, 1984). 3. Marian Meyers, News Coverage of Violence against Women: Engendering Blame (Thousand Oaks, CA: Sage Publications, 1997), 12. Notes 175

4. Steve Chibnall, Law-and-Order News: An Analysis of Crime Reporting in the British Press (London: Tavistock Publications, 1977), 23. 5. Isabelle Pinedo, Recreational Terror: Women and the Pleasure of Horror Film Viewing (Albany, NY: State University of New York Press, 1997), 6. 6. Francine Pickup, Ending Violence against Women: A Challenge for Development and Humanitarian Work (Oxford: Oxfam Publishing, 2001), 303. 7. Brian Norman, Dead Women Talking: Figures of Injustice in American Literature (Baltimore, MD: The Johns Hopkins University Press, 2013). 8. Sharon Rocha, For Laci: A Mother’s Story of Love, Loss, and Justice (New York: Crown Publishers, 2006), 304. 9. Mike Weiss, “Still No Answer.” San Francisco Chronicle, May 22, 2007, http://www.sfgate.com/news/article/STILL-NO-ANSWER-Five-years-after -Chandra-Levy-s-2559386.php. 10. Patrizia Romito, A Deafening Silence: Hidden Violence against Women and Children (Bristol: Policy Press, 2008), 21. 11. Michael Welch, Scapegoats of September 11th: Hate Crimes and State Crimes in the War on Terror (New Brunswick, NJ: Rutgers University Press, 2006), 50–51. 12. Imelda Whelehan, Overloaded: Popular Culture and the Future of Feminism (London: The Women’s Press, 2000), 178. 13. Quoted in James W. Tankard, Jr., “The Empirical Approach to the Study of Media Framing,” in Framing Public Life: Perspectives on Media and Our Understanding of the Social World, ed. Stephen Reese, Oscar Gandy, and August Grant (Mahwah, NJ: Lawrence Erlbaum, 2001), 100. 14. Meyers, News Coverage of Violence against Women, 9. 15. Carol J. Williams, “In Case of Vanished Tourist, Aruba Also Suffers,” Los Angeles Times, June 4, 2007, http://articles.latimes.com/2007/jun/04/world /fg-natalee4. 16. Jane Velez-Mitchell, Secrets Can Be Murder: What America’s Most Sensational Crimes Tell Us about Ourselves (New York: Touchstone, 2007). 17. Coco Fusco, The Bodies That Were Not Ours, and Other Writings (New York: Routledge, 2001), 197. 18. The City of Dead Women, directed by Yorgos (George) Avgeropoulos (Small Planet Production, 2005), http://www.journeyman.tv/56567/documentaries /city-of-dead-girls.html. 19. Melissa Wright, Disposable Women and Other Myths of Global Capitalism (New York: Routledge, 2006), 75. 20. Ibid. 21. Meyers, News Coverage of Violence against Women, 24. 22. Clint Van Zandt, “Cause of Death? Unknown,” Msnbc.com, December 9, 2005, accessed November 11, 2007, http://www.nbcnews.com/id/10384514 /ns/msnbc-the_abrams_report/t/cause-death-unknown/#.U27KIiiHbZc. 23. Wright, Disposable Women, 76. 24. “Search Continues for Missing Pregnant Woman,” Anderson Cooper 360 Degrees, June 18, 2007, transcript at http://transcripts.cnn.com /TRANSCRIPTS/0706/18/acd.02.html. 25. Rocha, For Laci, xi; emphases in the original. 176 Notes

26. “Police Step up Missing Intern Search.” BBC News, July 17, 2001, http://news .bbc.co.uk/2/hi/americas/1442821.stm. 27. Williams, “In Case of Vanished Tourist.” 28. Ibid. 29. Pascal Bonitzer, “The Disappearance (on Antonioni),” in L’Avventura: Michelangelo Antonioni, Director, ed. Seymour Chatman and Guido Fink (New Brunswick, NJ: University Press, 1989), 215. 30. Roland Barthes, Camera Lucida: Reflections on Photography, trans. Richard Howard (New York: Hill and Wang, 1981), 80–81. 31. Michael Ann Holly, Past Looking: Historical Imagination and the Rhetoric of the Image (Ithaca, NY: Cornell University Press, 1996), 37. 32. Patricia Holland, “The Politics of the Smile: ‘Soft News’ and the Sexualisation of the Popular Press,” in News, Gender and Power, ed. Cynthia Carter, Gill Branston, and Stuart Allan (New York: Routledge, 1998), 26–27. 33. The term comes from Gregory L. Ulmer in the context of a discussion of the “realism” of cinematic images, most famously articulated by André Bazin as truly authentic because, while recorded, the camera requires no human mediation to create “the real.” Leaving aside the fact that through the camera the real acquires human mediation and shaping, Ulmer writes, “Although semiotics prefers to designate this relation to the real in terms of iconic and indexical signifiers, the photographic image signifies itself and something else—it becomes a signifier remotivated within the system of a new frame.” In “The Object of Post-Criticism,” in The Anti-Aesthetic: Essays on Postmodern Culture, ed. Hal Foster (Port Townsend, WA: Bay Press, 1983), 85. 34. Patricia Holland, “The Politics of the Smile: ‘Soft News’ and the Sexualisation of the Popular Press,” in News, Gender, and Power, ed. Cynthia Carter, Gill Branston, and Stuart Allan (New York: Routledge, 1998), 27. 35. Pierre Kattar, “Remembering Chandra,” Washington Post video, 7:42, 2008, http:// www.washingtonpost.com/wp-srv/metro/specials/chandra/rememberingchandra .html. 36. See Anne Bird, Blood Brother: 33 Reasons My Brother Scott Peterson is Guilty (New York: Regan Books, 2005). 37. A photograph of the billboard image is in Amber Frey, Witness for the Prosecution of Scott Peterson (New York: Regan Books, 2005), 118. 38. Michael Welch, Scapegoats of September 11th: Hate Crimes and State Crimes in the War on Terror (New Brunswick, NJ: Rutgers University Press, 2006), 75. 39. Quoted in Jane Caputi, “The Sexual Politics of Murder,” in Violence against Women: The Bloody Footprints, ed. Pauline B. Bart and Eileen Geil Morgan (Newbury Park, CA: Sage Publications, 1993), 5. 40. Meyers, News Coverage of Violence against Women. 41. Karen Johnson-Cartee, News Narrative and News Framing: Constructing Political Reality (Lanham, MD: Rowman and Littlefield, 2005), 186. 42. Quoted in ibid., 186. 43. Elisabeth Bronfen, Over Her Dead Body: Death, Femininity and the Aesthetic (London: Routledge, 1992), 170. Notes 177

44. Beth Loffreda, Losing Matt Shepard (New York: Columbia University Press, 2000), x. 45. Fredric Jameson, “Postmodernism and Consumer Society,” in The Anti- Aesthetic, ed. Hal Foster (Port Townsend, WA: Bay Press, 1983), 125. 46. Manuel Castells, The Rise of the Network Society, 2nd ed. (Malden, MA: Blackwell Publishers, 2000), 464. 47. For example, timelines devoted to Chandra Levy’s case are available on the Internet at “Timeline: Chandra Levy,” ABC News, http://abcnews.go.com /print?id=121163; and “Chandra Levy Mystery: A Timeline,” USA Today, May 22, 2002, http://www.usatoday.com/news/washington/july01/2001-07 -05-levy-timeline.htm. 48. For discussions of the “satanic cult” theory, see: Maureen Orth, “A Made- for-Tabloid Murder,” Vanity Fair (August 2003), http://www.vanityfair.com /culture/features/2003/08/laci200308; and “Laci Abducted by Cult?” ABC News, May 23, 2003, http://abcnews.go.com/GMA/story?id=125146. 49. A transcript of Sloot’s interview with Greta Van Susteren on Fox News’ On the Record is at “Joran van der Sloot Goes ‘On the Record’ with New Natalee Holloway Story,” Fox News, November 25, 2008, http://www.foxnews.com /story/2008/11/25/joran-van-der-sloot-goes-on-record-with-new-natalee -holloway-story/. 50. The original story about the snorkelers’ photograph, which spread to many mainstream online media sites, is at Tom Murse, “Couple Finds ‘Skeleton’ in Aruba Picture,” Lancasteronline, March 18, 2010, http://lancasteronline.com /news/couple-finds-skeleton-in-aruba-picture/article_fc259bba-c1da-585e -98c1-19b14be809ee.html. 51. Sari Horwitz, Scott Higham, and Sylvia Moreno, “Who Killed Chandra Levy?” Washington Post, July 13–27, 2008, http://www.washingtonpost.com /wp-srv/metro/specials/chandra/. 52. “Who Killed Chandra Levy: Reporters’ Notebook,” Washington Post, July 13, 2008, http://blog.washingtonpost.com/washingtonpostinvestigations/2008 /07/who_killed_chandra_levy_the_re.html. 53. Van Zandt, “Cause of Death? Unknown.” 54. Ibid. 55. Ralph Daugherty, Murder on a Horse Trail: The Disappearance of Chandra Levy (New York: iUniverse, 2004), http://www.justiceforchandra.com/forums /viewtopic.php?t=2562. 56. Van Zandt, “Cause of Death? Unknown.” 57. Marilee Strong, Erased: Missing Women, Murdered Wives (San Francisco: Jossey-Bass, 2008), 10–11. 58. Van Zandt, “Cause of Death? Unknown.” 59. Johnson-Cartee, News Narrative and News Framing, 186, quoting S. Elizabeth Bird and Robert W. Dardenne, “Myth, Chronicle and Story: Exploring the Narrative Qualities of News,” in Media, Myths, and Narratives: Television and the Press, ed. James W. Carey (Newbury Park, CA: Sage, 1988), 70. 60. Mieke Bal, Death and Dissymmetry: The Politics of Coherence in the Book of Judges (Chicago, IL: University of Chicago Press, 1988). 178 Notes

61. Judith Walkowitz, “Jack the Ripper and the Myth of Male Violence,” Feminist Studies 8, no. 3 (Autumn 1982): 543–574. Tabloid journalism in the United States as early as the 1830s and 1840s utilized stories of dead women in a fashion very similar to the sensationalized reports about Jack the Ripper (I thank Carol Stabile for this point; personal conversation). One such sensationalized story was about the murder of Helen Jewett. See Patricia Cline Cohen’s The Murder of Helen Jewett: The Life and Death of a Prostitute in Nineteenth Century New York (New York: Vintage Books, 1999). Social transformation is the common context of all of these stories of murdered women. 62. Walkowitz, “Jack the Ripper,” 545–546. 63. Ibid., 566. 64. Ibid., 563. 65. Ibid., 570. 66. Ibid., 546. 67. Susan Hayward, Cinema Studies: The Key Concepts, 3rd ed. (London and New York: Routledge, 2006), 236–239. 68. Linda Williams, “Film Bodies: Gender, Genre and Excess,” in Film Theory and Criticism: Introductory Readings, 6th ed., ed. Leo Braudy and Marshall Cohen (New York: Oxford University Press, 2004), 729. 69. Ibid., 737. 70. Noted in Kathleen Rowe, The Unruly Woman: Gender and the Genres of Laughter (Austin: University of Texas Press, 1995), 5–6. Rowe references Mary Ann Doane, The Desire to Desire: The Woman’s Film of the 1940s (Bloomington: Indiana University Press, 1987), 180. 71. Another example of surrogate speech is the book If I Am Missing or Dead (New York: Simon & Schuster, 2007), in which Janine Latus recounts the story of her sister’s murder by a boyfriend in 2002. 72. Andrea Malin, “Mothers Who Won’t Disappear,” Human Rights Quarterly 16, no. 1 (Fall 1994): 187–213. 73. Christine M. Quail, Kathleen A. Razzano, and Loubna Skalli, Vulture Culture: The Politics and Pedagogy of Daytime Talk Shows (New York: Peter Lang, 2005), 25. 74. Ibid., 22. 75. Rocha, For Laci. 76. “Holloway Mom’s Tearful Plea,” CBS News, July 14, 2005, http://www .cbsnews.com/videos/holloway-moms-tearful-plea/. 77. A transcript of Tyra Banks’s May 2, 2006, interview with Beth Twitty is at the blog “Boycott Aruba—Justice for Natalee,” http://arubanboycott.blogspot .com/2006/05/recap-of-tyra-banks-show-with-beth-and.html. 78. Tamara Agha-Jaffar notes that Demeter searches for her daughter Persephone for nine days, which symbolically stands for the nine months of gestation. Tamara Agha-Jaffar, Demeter and Persephone: Lessons from a Myth (Jefferson, NC: McFarland and Company, 2002), 9. 79. David Greven, Representations of Femininity in American Genre Cinema: The Woman’s Film, Film Noir and Modern Horror (New York: Palgrave MacMillan, 2011), 14. Notes 179

80. Ibid. 81. Gayle Rubin, “The Traffic in Women: Notes on the ‘Political Economy’ of Sex,” in The Second Wave: A Reader in Feminist Theory, ed. Linda Nicholson (New York and London: Routledge, 1997), 27–62. 82. Agha-Jaffar, Demeter and Persephone, 17. 83. Ibid., 7–8. 84. Ibid., 16. 85. “Holloway Mom’s Tearful Plea.” 86. Bryan Burrough, “Missing White Female,” Vanity Fair (January 2006), http://www.vanityfair.com/culture/features/2006/01/natalee200601. 87. As Margaret Bruzelius remarks, “It is depressing to note that the identification of motherhood with suffering and the validation of the maternal voice through that suffering, which has been so effectively fostered by the church in the case of Mary, continues almost unquestioned today . . . In fact, it seems almost impossible to conceive of motherhood—of a ‘real mother’—in terms other than the painful ones registered by Mary: to imagine a carefree mother or guilt-free mother seems a Pollyannaish denial of the true grit of experience” (in Margaret Bruzelius, “Mother’s Pain, Mother’s Voice: Gabriela Mistral, Julia Kristeva, and the Mater Dolorosa,” Tulsa Studies in Women’s Literature 18, no. 2 [Autumn 1999]: 215–216). 88. Ibid., 216. 89. Williams, “Film Bodies,” 737.

6 Conclusion

1. Avery Gordon, Ghostly Matters: Haunting and the Sociological Imagination (Minneapolis: University of Minnesota Press, 1997), 22. 2. Annette Kuhn, The Power of the Image: Essays on Representation and Sexuality (New York: Routledge, 1985), 3. 3. Ibid. 4. Rebecca Stringer, “From Victim to Vigilante: Gender, Violence and Revenge in The Brave One (2007) and Hard Candy (2005),” in Feminism at the Movies: Understanding Gender in the Contemporary Popular Cinema, ed. Hilary Radner and Rebecca Stringer (New York: Routledge, 2011), 268–282. 5. Judith Halberstam, “Imagined Violence/Queer Violence: Representation, Rage, and Resistance,” Social Text 37 (Winter 1993): 187–201. 6. I thank the anonymous peer reviewer for prodding me to articulate the rela- tionship of dead female bodies to dead male bodies. 7. Kyle William Bishop, American Zombie Gothic: The Rise and Fall (and Rise) of the Walking Dead in Popular Culture (Jefferson, NC: MacFarland & Company, 2010), 11–12. 8. Henry Giroux, Zombie Politics and Culture in the Age of Casino Capitalism (New York: Peter Lang, 2011), 58. 9. Ibid., 43. 180 Notes

10. Ibid., 23. 11. Ibid. 12. Catharine MacKinnon, Are Women Human? And Other International Dialogues (Cambridge, MA: Harvard University Press, 2006), 105. 13. Ibid., 107. 14. Ibid. 15. Vivian C. Fox, “Historical Perspectives on Violence against Women,” Journal of International Women’s Studies 4, no. 1 (November 2002): 16. 16. Imelda Whelehan, Overloaded: Popular Culture and the Future of Feminism (London: The Women’s Press, 2000), 15. 17. Alison Landsberg, Prosthetic Memory: The Transformation of American Remembrance in the Age of Mass Culture (New York: Columbia University Press, 2004), 120. 18. Ibid. Bibliography

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9/11 Apatow, Judd, 18 aftermath and, 17–18 Are Women Human? (book), 153 trauma, utilization of in television narratives, 106–9 Bacchilega, Cristina, 51 visually reworking in television backlash, 18, 42, 168n40 narratives, 113–18 Badmington, Neil, 61, 114 24 (tv), 38 Baelo Allué, Sonia, 76 2000s. See also specific books, films, Bal, Mieke and television programs The Book of Judges, examination of, dead but not gone, alternatives to 27–8, 56 heroine, 150–1 Death and Dissymmetry, 7–8 family films gone wrong, 66, 78 dissymmetry, portrayal of, 30 film narratives, 25 Old Testament murders of women, introduction, 1–6, 8, 11–13, 18, 20 examination of, 141–2 television narratives, 92, 107 Bales, Kevin, 2, 15 Banks, Tyra, 5, 66 Abend, Sheldon, 73 Barthes, Roland, 135, 172–3n36 After School Special (tv), 78 Battlestar Galactica (tv), 38 The Aftermath of Feminism: Gender, Beals, Jennifer, 120 Culture and Social Change Beauty and the Beast [1991] (film), 51 (book), 19 Beetlejuice [1988] (film), 50 Agha-Jaffar, Tamara, 145 Berardinelli, James, 51 Alice Doesn’t (book), 6–7 Berger, John, 5, 9 Alpers, Svetlana, 5 Berkeley, Busby, 99 Altman, Rick, 86 Bird, Anne, 127, 136 America, construction of in image of Bishop, Kyle William, 151, 152 character (George) in Dead Like Black Like Me (book), 107 Me (2003–2004) (tv), 109–11 Blackmore, Tim, 37 American Psycho [1991] (film), 58, 76 Blood Brother : Why My Brother Scott America’s Next Top Model (tv), 5 Peterson Is Guilty (book), 127 Anderson Cooper 360 Degrees (tv), 133 Blue, Callum, 113 antifeminism, 18–20, 143 Boetticher, Budd, 158n17 Antonioni, Michelangelo, 134 Bones (tv), 4, 89 198 Index

Bonitzer, Pascal, 135 Minority Report [2002], 25–38, 29, The Book of Judges, 7, 27–8, 56 40, 43–4, 49–50, 52–3 Bordwell, David, 43 sight and, 31–4 Boyens, Philippa, 71 surveillance technology, 42–4 The Brave One [2007] (film), 150–1 time travel, 42–4 Breaking Dawn (book), 152 wider context, 34–7 Brecht, Kale, 73 Cheers (tv), 119 Brett, Steve, 4 Chiang, Joyce, 132, 141 Brocabulary: The New Man-i-festo of Chibnall, Steve, 127 Dude Talk (book), 19 Clover, Carol, 7, 12, 108 Bronfen, Elisabeth, 7, 9–10, 12, 30, Cohen, Ronald, 73 62, 138 Cold Case (tv), 89 Bruzelius, Margaret, 146, 179n87 Condit, Gary, 22, 131, 136, 140 Bryson, Norman, 103, 158n14 Connell, Raewyn, 26 Buffy the Vampire Slayer (tv), 83 consumable tragedy, 22, 138 Bunbury, Stephanie, 71 Cook, Pam, 164n49 Bundy, Ted, 80, 137 Coontz, Stephanie, 45–6, 49 Burr, Raymond, 74 Cooper, Anderson, 133 Burton, Tim, 49, 50 Corber, Robert, 74 Bush, George, 36 Corpse Bride [2005] (film), 48 Butler, Judith, 96 9/11 and aftermath, 18 dead women, uses of in narrative, Caputi, Jane, 80 101–2, 105, 107, 110 Carter, Helena Bonham, 48, 53 disappearance, new media and, 128 Caruso, D. J., 60, 73, 79 fairy tales and, 47–50 Casablanca [1945] (film), 50 family issues, 70–1 Casino Royale [2006] (film), 38 family-related issues, 55–7 Castells, Manuel, 138 female identity and, 44–53 End of Millennium, 14 gendered violence, 50–3 globalization and, 17 intertextuality, 50–3 marriage and, 45–6 introduction, 3–4, 12, 14, 20–2 The Power of Identity, 2 Jewish folktale, 164–5n56 on US militia, 41 world changes, context of, 25–6, Caviezel, Jim, 38 44–53 Chang, Grace, 2, 16 Craven, Matt, 38 changing world, film narratives and, Creed, Barbara, 7, 12, 30, 49 25–53 Criminal Minds (tv), 4, 89 Corpse Bride [2005] (film), 25–6, Cruise, Tom, 27, 29 44–53 CSI: Crime Scene Investigation fairy tales and, 47–50 (2000–2003) (tv), 79 foresight and, 31–4 9/11 and aftermath, 18 gendered violence, 50–3 as “autopic gaze,” 91 intertextuality, 50–3 beginnings of episodes, 88 marriage, 45–7 “Caged” episode, 98, 98–9 Index 199

“Chaos Theory” episode, 94 future of industry and, 152 dead women, uses of in narrative, introduction, 3, 10–11, 22 83–93, 95–8, 100–1, 103–5, The Lovely Bones [2009] (film), 56 107, 121 television narratives and dead disappearance, new media and, women, 85, 123 128, 142 The Dead Girl [2006] (film), 154, 156 domestic terrorism, dead women The Dead Girl [2007] (film), 58 and, 40 dead girls, 12, 64, 66, 108. See also “The Execution of Catherine The Lovely Bones [2009] (film) Willows” episode, 96–7, 104 Dead Like Me (2003–2004) (tv), 64, feminism and, 84 109, 123 gendered violence, 93–102 9/11, visually reworking, 113–18 globalization and, 84–5 9/11 and aftermath, 18 “The Hunger Artist” episode, 95–6 America, construction of in image “The I-95 Murders” episode, of character (George), 109–11 94–5, 101 “Be Still My Heart” episode, 121–2 introduction, 4, 10–11, 13–14, 21–2 “A Cook” episode, 120 investigators, mythologizing of, “Curious George” episode, 110 89–90 “Dead Girl Walking” episode, 120 “One Hit Wonder” episode, 101–2 dead women, uses of in narrative, other crime shows fostered by, 89 83, 85–7, 106–22 “Pilot” episode, 92, 104–5, 108 disappearance, new media and, 128 power struggles, portrayals of, 88–92 family issues and, 61 “Sex, Lies and Larvae” episode, 97–8 globalization and, 86 sexual politics, 92–3 “Ground Zero” episode, 116 “Slaves of Los Vegas” episode, 96, “In Escrow” episode, 123 99–101 introduction, 4, 12, 21–2 “Snuff” episode, 105 “My Room” episode, 115–16, 122 “The Strip Strangler” episode, 103–4 “Pilot” episode,” 111–15, 114, 117, “Too Tough to Die” episode, 105, 106 122 visual style of, 91–2 postfeminism and, 118–23 CSI effect, 85 postmodernism and, 118–23 CSI: Miami (tv), 4, 88–9 “Reapercussions” episode, 121 CSI: New York (tv), 4, 88–9 “Rites of Passage” episode, 120 world changes, context of, 44 Dargis, Manohla, 45 Dead Like Me: Life After Death (tv), 123 Davis, Jessie, 129, 133 dead women Davison, Carole Margaret, 69 “bleeding wound,” as image of, 12–13 Daybreakers [2009] (film), 152 bodies of, 92–3 de Moraes, Lisa, 76 changing world and, 25–53 dead but not gone cultural differences in portrayal, alternatives to heroine, 150–1 15–17 female identity and, 44 as disposable, 2 formula, use of, 25 domestic terrorism and, 37–42 200 Index dead women—Continued disappearance, news-mediated gendered violence and, 93–102 narratives of, 125–47 invisibility of, 1 family’s role in story, 139 Minority Report [2002] (film), formal qualifies of, 130–41 meaning of in film, 29–31 melodrama and, 141–7 news-media narrative of myth and, 141–7 disappearances, 128, 136 remotivated images, 135–8 reanimation of, 66 slide shows, 139–41 serial killers, 11 disposability of women, 2 television narratives and. third-world countries, 14–15 See television narratives, uses of Disposable Domestics: Immigrant dead women Women Workers in the Global visual culture, 2–4 Economy (book), 15–16 Dead Women Talking: Figures of Disposable People: New Slavery in the Injustice in American Literature Global Economy (book), 15 (book), 10–11 Disposable Women and Other Myths of death, visibility and, 149 Global Capitalism (book), 15 Death and Dissymmetry (book), 7–8 Disturbia [2007] (film), 80 Déjà Vu [2006] (film) 9/11 and aftermath, 18 9/11 and aftermath, 17–18 analysis of, 73–6 dead but not gone, 151 dead women, uses of in narrative, 102 dead women, uses of in narrative, disappearance, new media and, 137 85, 102 ending of, 71 disappearance, new media and, 128 as family melodrama gone wrong, domestic terrorism, dead women 59–62 and, 37–42, 38, 40 family-related issues, 55–7 family-related issues, 55 introduction, 3, 12, 14, 21 introduction, 3, 7, 12, 20–2 The Lovely Bones [2009] (film) technology and, 42–4 compared, 76–82 world changes, context of, 25–6, 29, Disturbia [2007] (film), compared, 77 37–44, 53 Doane, Mary Ann, 91, 143 Dell, Floyd, 103, 173n40 Doherty, Thomas, 103 Demeter-Persephone, 144–6, 178n78 domestic terrorism, dead women and, Denby, David, 18 37–42 Department of Homeland Security, 78 Dourdan, Gary, 90 Depp, Johnny, 48, 53 Dyer, Richard, 33, 45 “desubjectified subjectivity,” use of term, 159n33 E.T. (film), 111 Dick, Philip K., 26, 29–30, 35 Eades, George, 90 The Dick Van Dyck Show (tv), 83 Ebert, Roger, 44, 53 Dickens, Charles, 9 Eclipse (book), 152 Dickinson, Emily, 9 Edward Scissorhands [1990] (film), 50 Dienst, Richard, 87 Ellis, Bret Easton, 58 differentiation, television, 87 Elman, Julie Passanante, 60–1, 78 Index 201

End of Millennium (book), 14 gendered violence, 50–3, 93–102 Erased: Missing Women, Murdered Corpse Bride [2005] (film), 50–3 Wives (book), 141 ghost, as means to justice, 11, 70, 160n42 Ghost [1990] (film), 67 fairy tales, 47–50 Ghost Whisperer (tv), 4, 89 Faludi, Susan, 18, 108 Ghostly Matters: Haunting and the family-related films, 55–82. See also Sociological Imagination (book), Disturbia [2007] (film); The 67, 149 Lovely Bones [2009] (film) Giddens, Anthony, 14 as family melodramas gone wrong, Gilbert, Jeremy, 86 59–63 Gilman, Charlotte Perkins, 69 Farrell, Colin, 34 The Girl with the Dragon Tattoo (film), fem fatales, film noir, 160n43, 160n46 154 female identity, 44–53 Giroux, Henry, 152, 153 feminism globalization, 13–17 antifeminism, 18–20, 143 CSI: Crime Scene Investigation CSI: Crime Scene Investigation (2000–2003) (tv) and, 84–5 (2000–2003) (tv) and, 84 Dead Like Me (2003–2004) (tv) failures of, 2 and, 86 perspectives, 7–13 Goeddertz, Tamara, 122 postfeminism, 18–20, 86 Goldberg, Whoopi, 67 feminist theory, 6 Golddiggers of 1935 (film), 99 film narratives, changing world and, The Golden Girls (tv), 83 25–53. See also specific film Gone with the Wind (film), 112 Five Easy Pieces [1970] (film), 120 Good Morning America (tv), 143–4 Flashdance [1983] (film), 120 Goodwin, Sarah, 30 Flynn, Errol, 113 Gordon, Avery, 67, 70, 149, 160n42 foresight, changing world, and, 31–4 Gordon, Katherine, 73 Foster, Jodie, 151 Gordon, Richard, 73 Foucault, Michel, 10 Grass, Gunther, 117 Fox, Jorja, 90, 106 Great Expectations (book), 9 Fox, Vivian C., 153 Greven, David, 144 Frankenstein (book), 9 Griffin, John Howard, 107 Fresh Air (radio show), 65 Grossberg, Lawrence, 82 Fusco, Coco, 132 Guandique, Ingmar, 141 Fuss, Diana, 114 Guillen, Imette St., 129 future of industry, 151–3 Gunther, Max, 73 Guy, Jasmine, 113 Gable, Clark, 113 Guyland: The Perilous World Where Game of Thrones (tv), 154 Guys Become Men (book), 18 Gardner-Quinn, Michelle, 129 Gattaca [1997] (film), 85 “habitus,” use of term, 65, 73, 87, 126, Gaundique, Ingmar, 134 167n38 Gayheart, Rebecca, 112 Hacking, Lori, 129 202 Index

Halberstam, Judith, 9, 151 disappearance, news-media Hall, David Michael, 90 narratives of, 125, 127–8, 130, Hammond, Peter, 60 133, 135–9 Happily Ever After: Fairy Tales, theories of, 4–7 Children and the Culture Industry imaginary, 119 (book), 47 necrophiliac imaginary, 20, 89 Hard Candy [2005] (film), 150–1 Immigrant Women Workers, 15–16 Harris, Laura, 111 “Information Age,” 14 Harris, Thomas, 58 intertextuality Hayward, Susan, 143 Corpse Bride [2005] (film), 50–3 Hearths of Darkness (book), 57, 59 Ironman [2008] (film), 38 Heavenly Creatures [1994] (film), 71, 72 Helgenberger, Marg, 98 Jack the Ripper, 82, 142–3, 150, Henry-Portrait of a Serial Killer [1986] 178n61 (film), 57 Jackson, Peter, 56, 59–60, 63, 70–2, 77 Higham, Scott, 140 James, Alice, 9 historical context, components of, James Bond franchise (film), 154 13–20 Jameson, Fredric, 50, 138 9/11, 17–18 Janowitz, Tama, 99 antifeminism, 18–20 Jarvis, Brian, 57–9 globalization, 13–17 Jeffries, L. B., 74 postfeminism, 18–20 Jermyn, Deborah, 11 Hitchcock, Alfred, 21, 73 Johnson, Mike, 51 The Hobbit (film), 72 Johnson-Cartee, Karen, 137, 141 Holland, Patricia, 135–6 Joyrich, Lynne, 87 Holloway, Natalee, 52, 149, 156 introduction, 4, 9, 18, 22 Kean, Greg, 111 news-media narrative of Kellner, Douglas, 26 disappearance, 125–9, 131–6, Kelly, Grace, 76 138–40, 142–3, 145–6 Kimmel, Michael, 18 television narratives and, 94 Kraidy, Marwan, 122 horror genre, 12, 59 Kristeva, Julia, 7, 53 Horwitz, Sari, 140 Kuhn, Annette, 150 Hostel [2005] (film), 151 Hulme, Juliet, 72 La Ferla, Ruth, 18, 44 human, women as, 153–5 LaBeouf, Shia, 56, 77 Lally, Kevin, 51 I Know Who Killed Me [2007] (film), 4 Landsberg, Alison, 154 I Love Lucy (tv), 83 Lang, Fritz, 29 identity, female, 44–53 Larry King Live (tv), 143 Ideology and the Image (Nichols), 6 Larsson, Stieg, 154 Idlette, Patricia, 113 Lauretis, Teresa De, 6–7, 27 images, 150 –1, 153 – 4 L’Avventura ( The Adventure, 1960), bottled ships, 72 134–5 Index 203

Law and Order (tv), 89 Maude (tv), 83 Law & Order: Special Victims Unit Maurer, Daniel, 19 (tv), 83 McKillip, Britt, 111 Leibman, Nina, 68 McRobbie, Angela, 19 Levine, Alan, 73 McVeigh, Timothy, 41–2 Levy, Chandra, 52, 149 media introduction, 4, 9, 18, 22 saturation of, 5 news-media narrative of theories of image, 4–7 disappearance, 125–9, 131–3, Medium (tv), 4, 89 135–6, 138–43, 146 melodrama television narratives and, 94 disappearance, news-mediated Levy, Susan, 128, 144 narratives of, 141–7 Lewis, David Levering, 117 family melodramas gone wrong, Loffreda, Beth, 22, 138 59–63 Looking for Mr. Goodbar (film), 99 news-mediated narratives of Lord of the Rings (film), 72, 77 disappearance, 141–7 Lorre, Peter, 50 as safety valve, 160n48 The Lovely Bones [2009] (film), 65, 70, 72 Metropolis [1927] (film), 29, 33 analysis of, 55–62, 63–73 Mexican border, 132 dead but not gone, 56 Meyer, Stephanie, 152 disappearance, new media and, 128, Meyers, Marian, 126, 131, 137 137 Mildred Pierce [1945] (film), 164n49 Disturbia [2007] (film), compared, “millennial” texts, serial killers in, 57–9 76–82 “millenniums second sex,” 34 family-related issues, 55–7 Miller, Laura, 139 introduction, 3–4, 11–12, 14, 21 Miller, Tim, 139 television narratives and, 102 Minority Report [2002] (film) The Lovely Bones (book), 18, 62–6, 9/11 and aftermath, 18 70–3, 129 dead but not gone, 151 Lowell, Jeff, 4 dead women, meaning of, 29–31 Lucky (book), 64–5 dead women, uses of in narrative, 85, 105–6 MacCabe, Colin, 31, 103 disappearance, new media and, 128, MacKinnon, Catherine, 81, 153 143 Mad Men (2007–2014) (tv), 154 fairy tales and, 49–50 Maio, Kathi, 45, 51, 52 family-related issues, 55–6 Manhunter [1986] (film), 58 foresight and, 31–4 Mann, Michael, 58 globalization and, 14, 17, 20–2 marriage, 45–7 introduction, 3, 7, 12 Marriage: A History (book), 45 sight and, 31–4 Marx Brothers, 110 technology and, 43–4 The Mary Tyler Moore Show (tv), 83, 88 wider context of, 34–7 The Matrix [1999] (film), 85 world changes, context of, 25–40, Matrix, Eve Sidney, 36, 85 29, 43–4, 49–50, 52–3 204 Index

Mirzoeff, Nicholas, 6 Nicholson, Jack, 120 “missing” women. See disappearance, Nightline (tv), 143 news-mediated narratives of The Nightmare before Christmas [1993] Mitchell, W. J. T., 5, 39, 93 (film), 50 Moncrieff, Karen, 154 Norman, Brian, 10–11, 128 “monster” mentality, 102–6, 166n9 nostalgia, 68 Moody, Sheila, 109 Moore, Demi, 67 Obama, Barack, 36 Moreno, Sylvia, 140 Ocean’s Eleven franchise (1960, Morphology of the Folktale (book), 47 2001–2007), 154 Morse, David, 56 Oklahoma city bombing, 41 Morton, Samantha, 27, 29 Old Testament murders of women, Mulvey, Laura, 6, 88, 160n48 examination of, 141–2 murder On the Record (tv), 140, 143 contemporary relationships and, 84 Only Entertainment (book), 45 disappearance and. See Onstad, Katrina, 20 disappearance, news-mediated Oprah (tv), 143 narratives of Over Her Dead Body [2008] (film), 4 images of, 27 Over Her Dead Body (book), 7, 9 television narratives. See television narratives, uses of dead women Page, Ellen, 151 Muth, Ellen, 107, 109, 114 Pan’s Labyrinth [2006] (film), 38 My Dead Girlfriend [2006] (film), 4 Parker, Pauline, 71 Parks, Terry, 126 National Academy of Sciences, 90 Pasolini, Pier Paolo, 68 necrophiliac imaginary, 20, 89 Patinkin, Mandy, 110 neoliberalism, 2, 17, 118, 130 Patriot Act, 78 new conventions, disappearances and. Patriotism, 42, 155 See news-mediated narratives of Patton, Paula, 37–8, 40 disappearance Pelosso, Silvina, 139 New Moon (book), 152 Penley, Constance, 117 New York Times, 44, 63 Perkins, Wendy, 157n2 New Yorker, 18 Peters, John Durham, 67–8 news-mediated narratives of Petersen, William, 58, 79, 90 disappearance, 125–47 Peterson, Laci, 52, 149 family’s role in story, 139 introduction, 4, 9, 18, 22 formal qualifies of, 130–41 news-media narrative of melodrama and, 141–7 disappearance, 125–9, 131–2, myth and, 141–7 134–6, 138–40, 142–3, 146 remotivated images, 135–8 television narratives and, 94 slide shows, 139–41 Peterson, Scott, 126, 136–7, 141, 146 timelines, 139–41 phallic logocentrism, 34 Nichol, Terry, 42 Phyllis (tv), 83 Nichols, Bill, 6 Pickup, Francine, 127 Index 205

Pierce, William, 42 Richardson, Samuel, 9 Pinedo, Isabelle, 12, 99, 137 Rieper, Honora, 71 Pinocchio [1940] (film), 50 The River’s Edge (film), 10 Pirates of the Caribbean: The Curse of Robinson, Anthony B., 115 the Black Pearl [2003] (film), 53 Rocha, Sharon, 127–8, 133, 144 Place, Janey, 33 Rock, Paul, 137 Poe, Edgar Allan, 9–10 Roemer, Sarah, 61, 75, 77, 82 pornography, 137, 170n74 Rogan, Seth, 18 Porter, Patty, 133 Romito, Patrizia, 129 postfeminism, 18–20, 86 Ronan, Saoirse, 61, 65 television narratives, uses of dead Roseanne (tv), 83 women, 118–23 Rotella, Carlo, 117 postmodernism, television narratives, Rowe-Finkbeiner, Kristin, 18 118–23 Rubin, Gayle, 144 The Power of Identity (Castellis), 2 Russell, Diana, 80–1 The Power of the Image: Essays on Ryan, Michael, 26 Representation and Sexuality (book), 150 Sadism, 92 Prinz, Beth, 81 Scott, Tony, 39 Propp, Vladimir, 47–8 Sebold, Alice, 18, 56, 62–6, 71, 129 Prosthetic Memory: The Transformation Seinfeld (tv), 89 of American Remembrance in the September 11, 2001. See 9/11 Age of Mass Culture (book), 154 serial killer, 11, 55–9. See also Henry- Portrait of a Serial Killer [1986] Quail, Christine, 144 (film); Manhunter [1986] (film); Quindlen, Anna, 63 Silence of the Lambs [1991] (film) family-related films, overview, Raiders of the Lost Ark (film), 111 55–9. See also The Lovely Bones “random violence,” victims of, 140–1 [2009] (film) Razzano, Katy, 144 in “millennial” texts, 57–9 Rea, Stephen, 60 reason for fascination with, 76 “realism,” 176n33 repetition of, 166n18 Rear Window [1954] (film), 21, 56, 61, women as, 94 73–8 service economy, mocking in television Recreational Terror: Women and narrative, 106–9 the Pleasure of the Horror Film Sex, Lies and Videotape (film), 97 Viewing (book), 100 Sex and the City (tv), 83 remotivated images, 135–8 Sexton, Anne, 9 Representations of Femininity in American sexual politics, 92–3 Genre Cinema (book), 144 Shaun of the Dead [2004] (film), 152 Ressler, Robert, 58 Shaviro, Steven, 31 Restuccia, Frances L., 69 Shelley, Mary, 9 Rhoda (tv), 83 Shiavo, Terry, 28 Rich, Frank, 20 Silence of the Lambs [1991] (film), 58 206 Index

The Silence of the Lambs and American daytime television, 88 Psycho (book), 76 dead women’s bodies, 92–3 Skalli, Loubna, 144 differentiation and, 87 Slaves of New York (film), 99 discussion of television, 86–8 slide shows, 139–41 investigators, mythologizing of, 89–90 Smart, Elizabeth, 129 “monster” mentality, 102–6 Smith, Kelsey, 129 postfeminism and, 118–23 Smith, Paul, 34 postmodernism and, 118–23 Soderbergh, Stephen, 97 power struggles, portrayals of, 88–92 Sontag, Susan, 116, 135 service economy, mocking, 106–9 “spectacle of the ruined body,” 137–8 That Girl (tv), 83, 88 Spielberg, Steven, 26, 34, 74 The Terminator [1984] (film), 117 Spigel, Lynn, 87 The Terror Dream: Fear and Fantasy in The Split-Level Trap (book), 73 Post-9/11 America (book), 18, 108 Star Wars (film), 111 terrorism Stevenson, Cynthia, 111 domestic terrorism, dead women Stewart, James, 76 and, 37–42 Stewart, Jimmy, 74 US militia and, 41–2 Stringer, Rebecca, 150 The Texas Chainsaw Massacre [1974] Strong, Marilee, 141 (film), 59 Suburbia, 55, 57–8, 73–5, 78, 80, theories of image, 4–7 108, 111 third-world countries, disposability of Sudbury, Julia, 35 women, 14–15 Sund, Carole, 139 timelines, 139–41 Sund, Julie, 139 The Tin Drum (film), 117 surveillance technology, 42–4 Today Show (tv), 63 Susteren, Greta Van, 143 Travers, Peter, 53 Suvin, Darko, 42 Tucci, Stanley, 61, 79 Swayze, Patrick, 67 The Turner Diaries (book), 42 Twilight [2008] (film), 152 Tait, Sue, 20, 40, 89 Twilight (book), 152 Tankard, James, 130 Twilight: New Moon (film), 73 technology, 35 Twilight Saga: Breaking Dawn 1 [2011] surveillance technology, 42–4 (film), 152 techno-noir cyberfiction, 85 Twilight Saga: Breaking Dawn 2 [2012] television narratives, uses of dead (film), 152 women, 83–123. See also Twilight Saga: Eclipse [2010] (film), 152 CSI: Crime Scene Investigation Twilight Saga: New Moon [2009] (2000–2003) (tv); Dead Like Me (film), 152 (2003–2004) (tv) Twitty, Beth, 145, 146 9/11, visual reworking of, 113–18 Tyra Banks Show (tv), 143–4 9/11 trauma, utilizing, 106–9 beginnings of episodes, 88 “unruly,” use of term, 9, 32, 37, 49, CSI effect, 85 159n32 Index 207

US militia, 41–2 women as human, 153–5 USA Today, 139 Wood, Robin, 25, 111 Woolrich, Cornell, 74 van der Sloot, Joran, 134, 140 world changes, context of, 25–53 Velez-Mitchell, Jane, 131 Corpse Bride [2005] (film), 25–6, violence, gendered, 50–3 44–53 visual culture, dead women and, 2–4 fairy tales and, 47–50 Vitti, Monica, 134 foresight and, 31–4 von Czarnowsky, Laura-Marie, 71 gendered violence, 50–3 von Sydow, Max, 27 intertextuality, 50–3 marriage, 45–7 Waco, Texas, 41 Minority Report [2002] (film), Wahlberg, Mark, 72 25–38, 29, 40, 43–4, 49–50, The Walking Dead (2010-present) (tv), 52–3 152 sight and, 31–4 Walkowitz, Judith, 142–3 surveillance technology, 42–4 Walsh, Fran, 71 time travel, 42–4 Waltman, Max, 80 wider context, 34–7 Washington, Denzel, 37, 39–40 Wright, Eric, 4 Washington Post, 140 Wright, Melissa, 2, 15, 89, 132–3 Ways of Seeing (book), 9 Weissmann, Elke, 11 Xena: Warrior Princess (tv), 83 Welch, Michael, 130, 137 Whelehan, Imelda, 118, 130, 154 The Yellow Wallpaper [1892] (film), 69 Whitney, Sarah, 64, 66, 69 Willes, Christine, 112 Zamsky, Linda, 140 Williams, Linda, 88, 143 Zandt, Clint Van, 141 Williams, Tony, 57–9 Zipes, Jack, 47 Willis, Jessica, 108 Žižek, Slavoj, 115, 159n33 Without a Trace (tv), 89 Zombie Politics and Culture in the Age witnessing, 31, 55, 67–8, 99 of Casino Capitalism (book), 152 Wizard of Oz [1939] (film), 51 zombies, 151