Goffman As Dramaturgical Prophet

Notes

Introduction: Faces on the Stage and Faces in the Stalls

1. Alas, the use of the theater loophole to allow smoking was blocked by the Minnesota Court of Appeals. (Kaiser, n.pag.)

1 The Subject is Performance: Goffman as Dramaturgical Prophet

1. Actually, Gouldner might more accurately describe Goffman as posing individuals as holding ‘sign-value,’ referring here to the concept first raised by Baudrillard in For a Critique of the Political Economy of the Sign and further developed in The Mirror of Production. 2. Interestingly, Habermas’ critique of Goffman is remarkably similar to Goffman’s similar treatment of George Herbert Mead. 3. This is echoed in the analysis of the German philosopher Ernst Tugendhat (who admittedly is dealing with the Meadian rather than the Goffmanian use of ‘role’), who describes role positions as ‘meaning offers,’ stressing the semiotic/hermeneutic dimensions of role-play (p. 243). 4. This example is of special interest given the importance that childhood play is given in the formation of the self within the pragmatist tradition. Mead repeatedly invokes play as an initial exploration of otherness by the developing social self and, despite Goffman’s aforementioned critique of Mead, he was clearly influenced by the pragmatist tradition (especially as processed through Blumer and Cooley). That role distance is a part of these early play experiences is certainly provocative in this light, suggesting the doubleness of role-play would also be constitutive of selfhood. 5. Fredric Jameson, in a 1974 review of Frame Analysis for Theory and Society, also cites ‘key’ as the most interesting of Goffman’s conceptual contributions in the book; while my understanding of the key is rather different from Jameson’s, I want to acknowledge a shared appreciation here. More recently, the well-known sociolinguist George Lakoff has noted the influence of Frame Analysis on his theorization on the production of political meaning. 6. In a footnote of his own, Goffman admits that, musicologically, ‘key’ is perhaps not as apt as ‘mode’ for the process he is describing, but I agree with Goffman that the technical aspects of the concept are less significant than its cultural-symbolic character (see 1974, p. 44). 7. It is worth noting that Goffman expressed a good deal of reservation about pragmatism (esp. Mead) and attempted to distance himself from an orthodox pragmatist position. In any case, Goffman’s avoidance of much explicit philosophical analysis (as noted) makes his relationship to any established school of thought difficult to identify precisely.

191 192 Notes

8. As I have previously argued, Mead’s position here bears a very interesting resemblance to Foucault’s analysis of classical forms of subjectivity, particularly as the latter is interpreted by Gilles Deleuze (see Bailey, pp. 26–27). 9. Another important perspective here, one that would link Mead and Goffman both chronologically and in theoretical terms, would be that of Kenneth Burke, who analyzes role-play in literary and rhetorical terms. For an interesting treatment of Burke’s relationship to Goffman, see Joseph Gusfeld’s excellent introduction to the 1989 anthology Kenneth Burke on Symbols and Society. 10. Goffman’s analysis of ‘face’ issues is intriguing in light of Raffel’s critique, of course, as Levinas placed great stress on the importance of the face in the engagement with otherness. 11. In Stigma, Goffman offers an extensive discussion of communities of ‘sympathetic others’ built on a shared Stigma and, as noted, his sense of the ‘courtesy stigma’ poses the relative portability (and thus symbolic character) or a range of stigmatic phenomena (see pp. 19–32, especially).

2 Performance Anxiety: Role-ing with Lacan

1. Interestingly, Terry Eagleton makes a very similar point in contrasting Lacan’s notion of subjectivity with that of his purported follower Louis Althusser, arguing that Althusser fails to recognize—through a rather elementary mis- reading that confuses the ego with the subject—the complexity of the Lacanian subject (pp. 144–45). 2. Although as Sharpe notes, Jacques Derrida spots a considerable existential bent in much of Lacan’s work, dedicating some of his encomium ‘For the Love of Lacan’ to this point. 3. Here, I would recognize Žižek’s important analysis of Lacan’s relationship with a post-structural model of subjectivity (or ‘subject-positions’ as opposed to subjects) in which he argues, quite convincingly, that Lacan is not positing the former but rather retaining a more coherent notion of the subject, albeit as ‘lack’ (1989, pp. 174–76). 4. As Žižek points out in a discussion of the Hegelian dimensions of Lacanian analytic practice, Lacan defines the final stage of analysis as ‘subjective destitution,’ in which the ‘subject no longer presupposes himself as subject’ and refuses the symbolization of the real that makes subjective existence possible. 5. It is important to note that Lacan’s position on the curative possibilities (and even the possibility as such) of ‘true speech’ shifted throughout his career and indeed his overall view of the alienation intrinsic to the act of speech evolves significantly over the course of the seminars. I am largely sidestepping many of the nuances of these shifts in thinking, but I wish to avoid the impression that there is a single, monolithic sense of the social-symbolic dynamics of speech in his work. 6. Indeed, for Lacan psychosis is a sort of language disorder that results from a failure to pass through symbolic castration and a resolution of the Oedipus complex, and one that is marked by a profound instability and an ‘asymbolic’ existence. Notes 193

7. Berger mentions that ‘when these suspicions [regarding the symbolic organization of existence] invade the central areas of consciousness they take on, of course, the constellations that modern society would call neurotic or psychotic,’ thus echoing Lacan at a more clinical level as well (p. 23). 8. Of course, Lacan’s ideas are often seen in a rather different light and, like Rank, Lacan was cast out of orthodox circles, being expelled from the International Psychoanalytic Association in 1963. 9. Interestingly, Rank’s reﬂections on homosexual desire and art and Lacan’s connection of homosexuality, particularly female homosexuality, and hysteria have a strong similarity, despite the former coming long after Rank’s break with Freud (at least partly over the centrality of sexuality in the Freudian position) (see Rank, pp. 52–58).

3 Liquid Stages and Melting Frames: Objective De-Stabilization

1. Lauren Langman’s ‘Alienation and Everyday Life: Goffman Meets Marx at the Shopping Mall’, which extensively engages Baudrillard’s thought, is an exception, although the author connects the two theorists in a manner very different from my own. 2. I should mention that this is not the first attempt to place Baudrillard alongside psychoanalysis, as in Charles Levin’s admirable essay ‘Power and Seduction: Baudrillard, Critical Theory and Psychoanalysis.’ However, Levin’s interest is in Winnicott’s object-relations psychoanalytic paradigm and also in Baudrillard’s early work (indeed being quite hostile to the later writing). 3. There is an interesting overlap here with the thinking of the contemporary Heideggerean philosopher Hubert Dreyfus, author of What Computers Can’t Do: The Limits of Artificial Intelligence and a revised edition entitled What Com- puters Still Can’t Do. Dreyfus argues that attempts at artificial intelligence will fail because they are unable to take into account the embodied character of human thought and are ultimately reliant upon a model of thought as information. 4. Badiou’s book on Deleuze, The Clamor of Being, deals extensively with the latter’s relationship with Heidegger. Badiou poses Deleuze’s philosophical work as a radical extension of much of Heidegger’s thinking. This is a controver- sial position, but one that I find compelling and quite justified. Žižek’s Organs without Bodies tries to reread Deleuze in a Hegelian-Lacanian framework (a radical reading, to be sure), but recognizes the major conflicts in the relationship of the two thinkers. 5. The influence of Sartre on Baudrillard is rarely acknowledged in its fullness, but certainly emerges from a full encounter with the corpus of his work.

4 From Looking to Being to Killing: Performance Anxiety in Recent French Language Cinema

1. Contemporary European systems of film production can render a precise national identification for a film difficult, so ‘French’ here is shorthand for 194 Notes

films in the French language that examine issues germane to contemporary French culture. 2. ‘Theorizing’ here is understood along the lines developed by Alan Blum in his titular book, with theory as an opening of conversation, of the initiation of a dialogue. 3. Interestingly, Bordwell has been engaged in a particularly vituperative intellectual exchange with Slavoj Žižek over the relative merits of ‘cognitivist’ and psychoanalytic strategies for analyzing films. It is perhaps significant that the films of Kieslowski (as interpreted by Žižek in his 2001 book, The Fright of Real Tears) were central to the latter’s attacks on Bordwell’s position regarding the weaknesses and dogmatism of psychoanalytic film theory. 4. It is unclear (and probably irrelevant) whether or not Haneke intended this replication as an homage or a more neutral borrowing. Interestingly, the ending of Lynch’s earlier Blue Velvet replicates a scene from Luis Bunuel’s Susana in a similar manner. 5. At least initially, as the nature of the video images become increasingly intense and horrifying in Lost Highway. 6. 1999’s The Straight Story is an exception. 7. Arquette plays both ordinary Renee Madison and femme fatale Alice Wakefield, a strategy repeated with Naomi Watts playing Betty Elms and Diane Selwyn in Mulholland Drive. 8. Haneke drives the point home—and not particularly subtly—by using newscasts reporting on the invasion of Iraq in the background of several scenes. 9. ‘Money and Brains’ is the name of a geodemographic cluster used by marketing organizations to determine likely patterns of cultural consumption and refers to geodemographic groups with ‘high incomes, advanced degrees, and sophisticated tastes to match their credentials’. See Weiss, The Clustered World. 10. The suicide, it should be noted, is actually somewhat ambiguous in that Ericka walks out of the concert hall after stabbing herself in the heart, rather than falling to the floor. However, she appears to have stabbed herself in the heart with a large knife, which suggests a fatal self-injury. 11. Film scholar Annette Insdorf makes this point in her commentary included on the Red DVD. 12. Kieslowski was noted for his frequent use of doppelgangers in his films; indeed, TheDoubleLifeofVeronique, his last film before beginning the Three Colors trilogy, is built around the use of this plot device. (Note here the similarity with David Lynch’s use of dual character structures in Mulholland Drive and Lost Highway). 13. Innsdorf, in the aforementioned DVD commentary, quite reasonably inter- prets the statement as a return to sexual potency. 14. Romand’s story was dramatized in a film entitled The Adversary in 2002; this film was a much more faithful recounting of Romand’s life and crime. Time Out, as noted, changes the ending, the main character’s employment, and a variety of other aspects of the story, though it retains many of the details (the use of Geneva, Switzerland as a hideout/place of fake employment, the financial scams, and other elements of Romand’s life) of the actual story. 15. Of course, this is an eerie echo of Romand’s own homicidal fury. Notes 195

16. New York Times critic Stephen Holden notes the similarity in visual style of the two films in his negative review of She’s One of Us. 17. In this depiction, she complements the beautiful female protagonists of Kieslowski’s earlier films in the Three Colours trilogy, Blue and White, played by Juliette Binoche and Julie Delpy. The former is defined by a melancholic removal and the latter by a cunning sensuality. Jacob would later play a woman preparing to become a nun in Michaelangelo Antonioni’s 1995 film Beyond the Clouds, which takes the nature of desire as its central theme. Interestingly, Antonioni directed a kind of ur-text to the films discussed in this chapter with 1975’s The Passenger, a brilliant film exploring some of the peculiarities of identity and the contingencies of personhood. In it, Jack Nicholson plays a reporter who switches identity with a similar-looking man, an international arms dealer, when the latter dies in an adjacent room in a hotel in a remote African village. 18. A much-admired scene in which Bateman and his colleagues compare business cards presents this status game as high drama and displays an almost-pornographic gaze at the cards, with each banker describing the spec- ifications (font, paper type) of his particular card accompanied by ominous background music. 19. Another extremely memorable scene in American Psycho features a naked Patrick Bateman chasing rival Paul Allen through his apartment building wielding a chainsaw. 20. An essay by John Champagne in Bright Lights Film Journal offers an extensive Lacanian analysis of The Piano Teacher. Champagne makes the point that the film ‘seems like an introduction to the work of Freud and his French disciple, Jacques Lacan ...’(n.pag). 21. As with American Psycho, Salo wasthecauseofagreatdealofcontroversy, largely because of its depiction of grotesque sado-masochistic sexual practices involving children. The film is also noteworthy in the context of this chapter as it is a clear cinematic ancestor to many of Michael Haneke’s films, particularly 1997’s Funny Games and 2009’s The White Ribbon. 22. A sort of microcosmic version of the genocidal urge to wipe the slate clean and begin with a new society one sees, especially, in the Cambodian Khmer Rouge regime. Interestingly, such regimes were built on a model of ‘year zero’ as launching a new man, a new social subject. 23. Open holes, such as wells and graves, were a subject of much symbolic reflection in early Freudian literary and cultural criticism, representing vaginas and, consequently, castration anxiety. Michel thus appears—again rather pedantically—to overcome his castration complex with the murder of Harry/Dick. 24. Majid commits suicide, but the immediate cause of his bloody self- destruction is the false accusation of kidnapping Pierrot, Georges’ son. 25. Indeed, Bourdieu placed second on an oft-discussed 2007 list of the most cited academic writers in the humanities. For comparison, Goffman finished fifth, Lacan was ranked thirty-fourth, and Baudrillard failed to make the top forty. 26. Interestingly, Bourdieu has written quite extensively on the issue of uni- versalizing within social thought and especially the tendency for French intellectuals to engage in a rhetoric of universalization. 196 Notes

27. It is worth noting that Bourdieu includes a detailed exploration of the culinary preferences of various strata of French society in Distinction. 28. Given the more seriously toned discussions of French geopolitical insecurities (particularly those surrounding immigration and the Muslim population of France), it is interesting that Steinberger describes French cuisine lightly as ‘one of the most benign forms of imperialism the world has ever seen’. 29. Recall the passage from Kundera’s Slowness cited in the first chapter; it should be noted that the novel is from Kundera’s ‘French’ period—the era in which he was living in France and writing in French. 30. In addition to Winter’s book, see for example Joan Wallace Scott’s The Politics of the Veil (2007), Cecile Laborde’s Critical Republicanism: The Hijab Con- troversy and Political Philosophy (2008), and John Bowen’s Why the French Don’t Like Headscarves: Islam, The State, and Public Space (2006) for academic analysis of the issue in contemporary France. 31. Kieslowski died shortly after the completion of the Three Colors trilogy thus finishing his career in France, and Haneke has worked in German (The White Ribbon), English (a remake of the earlier German-language Funny Games), and French (Amour) in recent years. 32. In The Seventh Continent (based on a true story), an upper-middle-class family commits suicide after systematically destroying all of their possessions and flushing their money down the toilet. The film reflects a less nuanced version of many of the critiques of the dehumanizing nature of consumer society that appear in Hidden and The Piano Teacher. 33. This is not intended as a general evaluation of either cinematic tradition, of course, and the decline of European art cinema has certainly been the source of a good bit of film critical attention in recent years. Also, the work of David Lynch (described extensively above) suggests that simplified notions of aesthetic character for American versus European films is silly indeed. 34. It is worth noting that Weir, like Haneke and Kieslowski, works as an expa- triate within a national cinema. He emerged as a major Australian filmmaker in the 1970s but has worked within Hollywood since 1985’s Witness. 35. Of course, this larger theme has a very long history in American cinema, with prominent examples such as Billy Wilder’s 1951 Ace in Hole/The Big Carni- val which depicts the pre-television (print media, primarily) transformation of a mine tragedy into spectacle, and Albert Brooks’ critically praised 1979 comedy Real Life, which parodied the production of the Public Broadcasting System (PBS) ur-reality television series The Loud Family. 36. The film bears a considerable similarity to Sydney Lumet’s earlier Dog Day Afternoon (1975), although that film does not explore the television spectacle to the degree of Mad City. 37. Once again, this is a well-worn moral trope in cinema, with Sidney Lumet’s Network (1976) and Hal Ashby’s Being There (1979) as archetypal (and critically venerated) examples. 38. Interestingly, Schepisi comes out of the same Australian film scene that produced TheTrumanShow, director Peter Weir. 39. Snider was the lead singer of the very popular 1980’s glam metal band Twisted Sister. Notes 197

40. The film tapped into a cultural fascination at the time with extreme forms of body modification (as in the Jim Rose Circus Sideshow) and used it as a means of promoting the film. 41. Snider himself famously testified before the U.S. Congress against labeling music for objectionable content, a drive linked to religious conservatives (although one of the leaders of the Parents Music Resource Coalition, a leading advocacy group, was Tipper Gore, wife of future Vice President Al Gore). 42. This fear was compounded when it was widely reported that the film was a favourite of notorious Midwestern killer Edwin Hall, with some specula- tion that Hall’s crime, the kidnapping, torture, and murder of an 18-year-old woman whose father worked in law enforcement, was directly inspired by similar events in the film. 43. A superb example of an earlier depiction of this sort of transformation is Nicholas Ray’s 1956 masterpiece Bigger Than Life, in which a school teacher assumes a kind of Nietzschean superman personality due to the side effects of cortisone that he is prescribed to combat a rare inflammatory disease. A later but also interesting example is Joseph Ruben’s 1987 horror-thriller The Stepfather (remade by Nelson McCormack in 2009), in which a seem- ingly all-American man assumes the titular role with a number of families, murdering them when they fall short of his desires for the perfect family. 44. See Bailey and Hay, ‘Cinema and the Premises of Youth: Teen Films and Their Sites in the 1980s and 1990s’. 45. Interestingly, in Haneke’s The Seventh Continent (described in note 29), the family’s suicide includes their final moments watching television followed by alternating shots of a television with no signal (and the correlate noise on the soundtrack) and flashbacks to earlier events in the film, somewhat heavy-handedly analogizing the dead television with the dying family. The effect is to implicate the spectator in a voyeuristic enjoyment of the suicide, a cinematic strategy repeated more dramatically in 1997’s Funny Games. 46. Against the monkeys-typing-Hamlet scenario he mocks in Cool Memories 2. 47. I use the term ‘quasi-ethnographic’ given the large and rich body of literature in Anthropology and other disciplines dealing with the limits and possibilities of new (and often more poetic) forms of ethnographic discourse. An early and excellent example of this work can be found in the collection Writing Culture: The Politics and Poetics of Ethnography edited by James Clifford and George Marcus. 48. A similar moment occurs in Antonioni’s The Passenger, mentioned in note 13, when Jack Nicholson methodically peels the photo off from the passport of a suddenly-deceased man at the same remote African hotel and replaces it with his own, and is thus able to assume the identity of the dead man. 49. This aspect of the judge’s attitude is quite similar to that of Julie, the main character in Kieslowski’s Blue, the first film in his Three Colors trilogy, who tries to live a life free of desire and any emotional attachment after the death of her husband and daughter in a tragic auto accident. 50. At the risk of being repetitive, Sartre’s deep influence on Goffman is worth reiterating here. While no reasonable person would claim Goffman as a French thinker, or even perhaps a Francophile, he is less distant from the Continental tradition than might be assumed. 198 Notes

5 Protesting Disappearance: The Drama of the Stylish Self in the World of OOTD

1. Baudrillard, clearly, is the exception and indeed his work was certainly influential in many critical treatments of virtual culture, even achieving a degree of popular cultural fame with the nod to his work in The Matrix,an emblematic text of the early Internet era. 2. Hacking argues that the documentary films made by the NFB in this era, with an emphasis on recording the everyday lives of a variety of Canadians may have provided a model for the documentary style of Goffman’s ethnographic research (pp. 289–90). 3. It is worth noting here that Hacking shares my view of Goffman as a substantive theorist of social subjectivity, although he is less explicitly interested in making a case for this reading of Goffman. Interestingly, in addition to threads uniting Goffman and Sartre, he argues that there are also connections between Foucault and the latter (p. 289); this resembles, in its overturning of a commonplace of critical theory (that Sartre and Foucault were near opposites, philosophically), my argument regarding the continuities between Sartre and Lacan. 4. The analysis of which was the subject of Goffman’s University of Chicago PhD dissertation and his Presentation of Self in Everyday Lif e. 5. This can be contrasted with the cinema studies paradigm and the development of ‘apparatus’ theory in the 1970s that explored the specific role of technologies of film production and reception in the making of cinematic meaning, particularly in terms of its ideological effects (see Rosen, Narrative, Apparatus, Ideology). 6. Slightly tangentially, I wonder if at least some of the popularity of Goffman for scholars of online culture is explained by the curious verbal echo of Goffman’s ‘face’ concepts (facework, saving face, etc.) in the name of the most popular social networking platform, Facebook. 7. Hogan is careful to draw a distinction in Goffman’s attention to mediation in the early work (such as ThePresentationofSelfinEverydayLife)and later work such as Frame Analysis (and I would add Gender Advertisements) in which there is a greater recognition of forms of mediation/representation (p. 379). 8. Hogan does not mention psychoanalysis in his piece and is more concerned with the application of a more conventionally dramaturgical approach. 9. As in Laura Robinson’s otherwise extremely cogent work on the value of SI perspectives (and she includes Goffman within that paradigm) for understanding cybercultural interaction. 10. In this analysis, Boyd does include a very brief discussion of the sometimes important role of fashion in teenage identity displays, noting the resemblance between the symbolic operation of the larger fashion system and online profiles used within a range of social networking sites. (pp. 139–40). 11. As Ruggerone notes quite astutely, fashion photography naturally acts as a hypertext in the sense that it is a secondary symbolization of already symbolic objects (p. 322), and this reflexive character naturally provides challenges for any analysis. Notes 199

12. Kristeva’s much discussed concept of the abject is rooted in her work on horror and is linked to an initial separation from the mother and the need to preserve boundaries between the body and forms of filth that are both connected to it and yet must be separated and that the revulsion, horror, nausea, etc. produced by such objects is linked to a traumatic separation. See Kristeva, Powers of Horror. 13. The role of online culture in fashion practices is not addressed by Grant, who is writing in 1997, a very different age in terms of online culture. 14. See Kristeva, Powers of Horror; Creed, ‘Kristeva, Femininity, Abjection;’ Ussher, Managing the Monstrous Female: Regulating the Reproductive Body. 15. Later, Bancroft offers a very intriguing discussion of the treatment of young hysterics by the psychoanalyst Francoise Dolto. The treatment involved play with ‘flower dolls’ as a way of returning to archaic imaginary identifications. For Bancroft, this can be connected to the ‘representation of discourses of hysteria in visual culture, specifically fashion photography’ (p. 33). 16. Indeed, there is a considerable interest in the act of staring in a range of social scientific and humanistic disciplines, including most recently critical disability studies (a field notable for the profound influence of Goffman’s Stigma). For a nice treatment of the stare in Simmel and Sartre, see Weinstein and Weinstein, ‘On the Visual Constitution of Society: The Contributions of Georg Simmel and Jean-Paul Sartre to a Sociology of the Senses.’ 17. ‘Backstage’ here is a tricky term given the implied presence of another, real backstage which would include the setting for the photography or videogra- phy, cosmetic and other preparation for the photography, the technological practices—editing, uploading, etc.—associated with placing material online, and other invisible activities required for the production and maintenance of a blog. Indeed, there is a thorny question regarding whether or not a space to which ‘managed access’ might be granted would even qualify as backstage. 18. See, for example, De Valck and Kretz, ‘ “Pixelize” Me: Digital Storytelling and the Creation of Archetypal Myths through Explicit and Implicit Self- Brand Association in Fashion and Luxury Blogs’ in the anthology Research in Consumer Behavior; Matikainen, ‘Advertising in Fashion Blogs,’ a thesis in the Business Economics and Tourism program at Vaasa University of Applied Sciences in Finland; and Hellberg and Tönneson, ‘Reading Fashion Blogs: An Interpretative Study about Young Women Engaged in Blog Read- ing Consumption Activity,’ an MSc thesis from the program in International Marketing and Brand Management at Lunds University in Sweden. 19. ‘770’ is a reference to the company’s head office at 770 Broadway in New York City. 20. For a discussion of some of the economic complexities of the world of fashion blogging, see a recent Guardian article, ‘Fashion Bloggers Seek Profit in Battle of the Gimmicks’ as well as a 2012 piece in Women’s Wear Daily,‘ToPay or Not to Pay: A Closer Look at the Business of Blogging.’ 21. ‘Daily’ here is shorthand for blogs that feature frequent ‘outfit of the day’ photo presentations. Nearly all such blogs miss a day occasionally, and many offer periodic postings rather than committing to an update each calendar day. 200 Notes

22. Other favorites include ‘Maya Angelou,’ ‘Black Forest Gateau,’ ‘Fred Astaire,’ ‘To Kill a Mockingbird,’ ‘Judy Garland,’ ‘Cadbury,’ ‘traditional folk art,” ‘cheeseboards,’ and ‘my Mum.’ 23. Dutchie directly identifies, as quoted, as a feminist, and a number of other bloggers share this self-identification and many who may not do so directly imply a feminist politics in their cultural recommendations (books, films, and so on) or offhand commentary. X provides a political self-identification through a kind of accidental modernist shock affect, with a ‘Be informed on female gendercide’ button on the front page of her blog that takes the reader to a documentary film about the killing and neglect of female children. 24. In American Psycho (both the film and the novel), Bateman is presented as hyper-conscious of consumer brands (as in the aforementioned lists of goods that are prominent in the novel) but distinctly low-brow in his cultural pas- sions, signified by his love for musical acts Phil Collins and Huey Lewis and the News, tokens of bland 1980s pop. 25. Yours Truly, x even parodies the conventions of the ‘couples photo’ with an image of Joshua licking x’s tongue and a caption reading ‘an attempt for a cutesy couple photo goes a bit wrong ...Ew!’ 26. It is also likely that the inclusion of information about a male partner might act at least partly as a deterrent for potential cyber-stalkers and other unwanted interest that would likely result from attractive young women posting photos of themselves online. 27. This apparatus can be largely anonymous, as in the numerous presentations within advertising and editorial content of fashion without any photo cred- its or highly authorial, as in the work of superstar fashion photographers (Bruce Weber, David La Chappelle, et al.). 28. Throughout the world of OOTD blogging, there is a curiously dogmatic eclecticism and/or cosmopolitanism in the set of cultural references from cuisine to music to home décor. 29. ‘Smize’ is a term coined by supermodel-turned-television personality Tyra Banks to describe smiling with your eyes. 30. To this end, the blogger behind Apples and Pencil Skirts, an elementary school teacher, includes her school’s staff dress code on the blog, giving a strong indication of the professional boundaries of her fashion pallet. 31. Further complicating the distinction, which, as noted, turned on the lack of registered co-presence in the exhibition, is the presence on some blogs (including Apples and Pencil Skirts) of a Feedjit window that provides a real- time display of the city and national origin of visitors to the site. 32. It is important to recognize that the commercial fashion world is hardly immune from such techniques, ranging from ‘Fashion Cares’, a legendary annual event that from 1987 to 2012 featured fashion designers, models, and celebrities and raised funds for AIDS charities to less direct nods to global issues, as in the photography for the fashion retailer Benetton by Oliviero Toscani. 33. ‘tl;dr’ is blogosphere shorthand for ‘too long, didn’t read’. 34. The ‘overshare,’ one associated with online culture and particularly the culture of blogging, appeared on the 2008 short list for ‘word of the year’ by the New World Dictionary. In Goffmanian terms, it might be thought of as a self-inflicted breach of the informational preserve. Notes 201

35. Indeed, most OOTD blogs include links for a range of social networking sites (Facebook, Twitter, Tumblr, etc.) and retail sites (especially Etsy stores) and are increasingly likely to include a link to a YouTube channel, making the borders of the blog proper rather ﬂuid. 36. The fashion vlog, it should be noted, is part of a larger constellation of web video practices devoted to various forms of consumption. Also notable here are the ‘haul vlog’ in which individuals reveal the contents of a particular shopping trip, and ‘unboxing’ videos which feature an almost ceremo- nial removal of a new purchase, most commonly a technological appli- ance, from its packaging. There are more than a million of each currently online. 37. See, for example, a 2007 Reuters article by Kirsten Gehmlich ‘Stop smiling! You’re on the catwalk,’ that details a variety of reasons for this tendency, from distracting attention from the clothing to avoiding wrinkles. 38. Again, it is reasonable to assume that at least some of the mentions of partners, boyfriends, and so on are designed to deter unwanted sexual advances. 39. Holidays are particularly popular themes for OOTD vlogs, sensibly given the attention to dressing for various social functions; there are thousands of holiday-themed OOTD vlogs online. 40. For instance, blogging platforms such as blogspot.com provide extremely user friendly templates that allow for the creation of a visually attractive blog to users with little or no web design abilities. 41. As with the fashion blog, the borders between professional and amateur are extremely blurry and virtually all vloggers have some entrepreneurial ambi- tions. For more on the amateur/professional divide within the culture of YouTube, see Burgess and Green, 2013. 42. See Sian Lincoln’s ‘Teenage Girls’ “Bedroom Culture”: Codes versus Zones’ for a nice summary of the developing analysis of bedroom culture as a research stream within British cultural studies. 43. Familiarity with the set of styles associated with both the fashion show and the photo shoot was certainly increased by the massive popularity of the Top Model (e.g., America’s Next Top Model, Canada’s Next Top Model) franchise of reality/competition television (launched in 2003 to great success). 44. The term ‘blooper’ appears in English (often the only English word) in the titles and/or descriptions of videos from Russian and Polish-language bloggers, with a corresponding segment in the video. 45. It is important to note that the creators/posters of YouTube videos can pre- clude commentary on a given video and also have the power to delete comments that they ﬁnd inappropriate or simply wish to eliminate, as well as the ability to block comments that include a set of ‘objectionable words’. A similar range of controls are available for static blogs. 46. This is a curious twist on Paul De Man’s notion of irony as ‘parabasis,’ with the latter referring to the moment in Greek drama in which the chorus addresses the audience directly and provides a kind of meta-commentary on the drama. 47. Indeed, many OOTD vloggers maintain ‘channels’ (rooted in the television model) that collect videos and allow subscribers to receive updates automatically. 202 Notes

48. The one mild exception would be blogs that provide automatically generated background music when a page is visited; this is rare but not anomalous in the OOTD blogosphere. 49. I have discussed the similarities of the Foucauldian model of the fold, as explicated by Deleuze in his titular study of the former, to the neo-pragmatist model developed by George Herbert Mead and a subsequent inﬂuence on the dramaturgical sociological paradigm (see Bailey, pp. 35–37). 50. The throw of the dice is a subject of great fascination for both Deleuze (expli- cating Foucault, the great theorist of the fold) and the more Lacanian Alain Badiou. See Brassier, ‘Stellar Void or Cosmic Animal? Badiou and Deleuze on the Dice Throw,’ for a fuller exploration of this ﬁgure. 51. TMZ is a website and subsequent television program that specializes in can- did video footage of celebrities, as well as mugshots and other documents revealing concealed aspects of the life a range of famous individuals. 52. I realize that I am opening myself up to all sorts of objections regarding a trivialization of mental illness; ‘psychosis’ here is understood as a symbolic condition and the ability to bound it in a ‘dose’ would render it categorically different from any actual mental condition. 53. Karen Horney, an early Freudian analyst and theorist (though not part of the direct circle around Freud) famously developed a technique for self-analysis, outlined in the titular volume from 1942.

6 ‘I Forgot to Remember to Forget’ or, ‘Rockabilly Rebel, What Ya Gonna Do’?

1. ‘Put Your Cat Clothes On’ is another rockabilly classic, a 1956 song by Carl Perkins; the title refers to the colloquial term for the flamboyant outfits associated with rockabilly afiocionados. 2. See, for example, Dregni’s Rockabilly: The Twang Heard ‘Round the World (2011), Morrison’s Go Cat Go: Rockabilly Music and Its Makers (1996), and Poore’s Rockabilly: A Forty-Year Journey (1998). 3. It could be argued that the British Teddy Boy culture of the late 1950s and early 60s constitutes a proto-indigenous version of the rockabilly cultural tradition, although there are significant deviations within this culture from the traditional rockabilly orthodoxy. The case of Japan is a bit more complex, as it was the site of a 1950s rockabilly music and dance culture, linked to American soldiers stationed in Japan, as well as serving as a major site for various rockabilly revivals in recent decades. 4. See ‘Katy Perry is a rockabilly queen at 2011 EMAs’ from the gossip site Celebuzz. 5. See Sarbin’s pioneering 1943 Sociometry article, ‘The Concept of Role- Taking’, for a discussion of the organismic nature of social role-play (pp. 277–79). 6. See, for example, Centino’s ‘Razabilly Boogie: The Latino Rockabilly Scene’, a 2012 article from Boom: A Journal of California, and Kattari’s Psychobilly: Imagining and Realizing a ‘Culture of Survival’ Through Mutant Rockabilly, a fascinating 2011 PhD dissertation on the sub-sub-culture of ‘psychobilly’ ” Notes 203

7. Indeed, Gretsch guitars has been quite savvy in using the rockabilly legacy within its own design, and marketing strategies, and for more than 20 years, has produced a popular model named for Stray Cats’ guitarist Brian Setzer. 8. www.rockabillystore.com is an example of the latter, while vintage merchandise appears across a range of online auction sites and niche retailers. 9. For instance, the Viva Las Vegas rockabilly convention, the most prominent international event for aficionados, features a large presence by retailers sell- ing a variety of related merchandise, and much smaller local events nearly always include a retail component, in addition to music performances, car shows, and other events. 10. The huge popularity of the UK neo-mod band The Jam is a nice parallel to the aforementioned Stray Cats within rockabilly as standard bearers for the subculture, though the former had a longer and more musically distinguished career. 11. See also Christine Feldman’s 2009 book We Are the Mods: A Transnational History of a Youth Subculture. There is a fairly extensive discussion of mod culture in David Muggleton’s Inside Subculture: The Postmodern Meaning of Style from 2002. 12. Admittedly, the ‘rockabilly moms’ and ‘rockabilly dads’ sections have attracted very few posts. 13. Such narratives as they appear in the world of fans of the rock band Kiss are discussed extensively in Chapter 3 of my Media Audiences and Identity: Self-Construction in the Fan Experience. 14. ‘Rockabilly hair’ is a standard descriptive term for the greased-up, retro look and even pop idol Justin Bieber (as far removed from the culture musically as Katy Perry) was described as sporting this look at a music awards show. 15. This is part of a larger cultural interest in ‘old time barbershop’ products that extends across a number of masculine subcultural formations, from metrosexuals to punk rockers. 16. The tattoo-covered rockabilly musician is a phenomenon of the post-revival era; the original 1950s musicians certainly did not showcase tattoos (if they had any) and wore stage outfits that would have hidden all but the most ostentatious tattoos. 17. This interpretation of the culture is certainly connected to the aforementioned class associations (which are stressed in Kattari’s analysis) and the amplification of class anxieties in the post-2008 economic climate, and also by the relatively greater emphasis on the punk influence in creating psychobilly’s cultural hybrid character (see Kattari, Chapter 2, ‘Psychobilly Bricolage: Rebellion, Entertainment, Identity, and Pleasure’). 18. See the vast literature on fan fiction, for instance, as a demonstration of the distribution of activities centered on creative production in a variety of fan subcultures. 19. There is a certain irony and perhaps a tinge of xenophobia in the prohibition on Japanese and German automobiles in that both nations have thriving rockabilly scenes. 20. ‘Billet parts,’ mentioned in the above quotation and also appearing on the ‘not allowed’ list for Viva Las Vegas, refers to a type of replacement car part made through a process of machining a solid piece of metal. They are regarded as flashy and an inauthentic concession to contemporary 204 Notes

sensibilities, as they are associated with the ‘bling’ culture of automobile customization perceived to be quite distant from the world of the jalopy and more traditional practices of hot rodding. 21. ‘Sign-value’ as a complement to more traditionally Marxian categories of use- and exchange-value was proposed as a third phase of value by Baudrillard in his For a Critique of the Political Economy of the Sign, a major work in his early period. 22. Two interesting comparative examples would be the ska and swing music communities, both of which have experienced ebbs and flows in terms of general popularity; ska, for example, had a very similar punk-associated revival in the late 1970s and early 1980s (associated with bands such as the Specials and the English Beat) after its mid-late 60s Jamaican heyday, and currently occupies a niche not unlike that of rockabilly culture. 23. In an interview, Greenburg (photographer behind The Rockabillies) noted the disjunction between her own identification as a ‘liberal, feminist, Demo- crat’ and the conservative orientation of at least some rockabilly devotees (Ammeson, n.pag.). 24. Lyrical strangeness was certainly not uncommon in original era rockabilly, with Dick Robinson and His Makebelievers’ late 1950s 45 ‘The Boppin’ Martian (Gibo Miban Gibo)’ or Warren Smith’s Sun Records classic ‘Ubangi Stomp’ from 1956. 25. The discourse of the ‘live’ genre is quite common in rock critical and fan vernacular discourses. Some of this popularity might be explained by the relatively exclusive nature of live performances, which depend upon a willingness to travel and to expend financial resources and time for participation, thus serving to separate aficionados in terms of ‘fan capital’ (see Thornton); however, it is also linked to the particular formal character and performance strategies associated with styles of music. 26. An absolutely consistent characterization of the Heavy Trash live performance is difficult, given the core band consists only of Spencer and Verta-Ray and is supplemented by a varying cast of additional musicians. 27. See, for example, Neil Downden’s review of a 2010 performance in London, UK on the OMH music blog, Jennifer Gibson’s review of a 2009 Atlanta show for the Atlanta Music Guide, and ‘aquabogan’s’ review of a 2009 show in Perth, Australia for the Faster Louder Australian Music and Culture site. 28. In reference to Reynolds’ work, Spencer’s use of dissonance and chaos in a range of his musical pursuits, indeed most notably in his more avant-garde projects (Pussy Galore, Boss Hog) is worth noting. While both Jon Spencer’s Blues Explosion and particularly Heavy Trash fit less comfortably within the ‘noise rock’ style, both deploy noise for particular aesthetic effects; in the case of the latter, ‘Mr. K.I.A.’ (from Heavy Trash) and ‘Way Out’ (from the 2007 album Going Way Out With Heavy Trash) are excellent examples of this technique. 29. The Reverend Horton Heat, a rockabilly performer for over thirty years reflects a hybrid of comedy and psychobilly strains within the culture. 30. The world of historical musical styles is highly variable in the degree to which period costumes and other theatrical trappings are embraced. For instance, swing jazz and to a lesser extent Dixieland styles are more likely to include such elements, which again might be rooted in their status as Notes 205

(relatively) whiter or at least less racialized forms of jazz and thus less susceptible to accusations of minstrelsy. 31. Such events normally take the form of live music performances, but also include disc jockeys playing rockabilly recordings, fashion shows, cos- tume/theme nights, and other similar events. 32. This can be explained, at least partly, by the dwindling number of original- era rockabilly musicians still alive or at all active within the scene. 33. One finds a curious parallel here in the world of classical music in the response to performers such as violin virtuoso Robi ‘The Devil’s Fiddler’ Lakatos and, to an even greater extent, waltz specialist Andre Rieu. Both offer performances featuring period costumes and a good deal more show- manship than is common in the classical world and have faced considerable critical scorn. 34. Much attention has been paid to the increasing normalization of tattooing practices within contemporary Western culture but is worth remembering that ‘tattooed ladies’ were once a routine feature in circus and carnival sideshows (see Osterud, The Tattooed Lady: A History). 35. Of course, such t-shirts (those featuring logos or messages) were not commonly worn during the 1950s, so the reference to rockabilly here is denotative rather than the more connotative messages sent by period attire. 36. Of course, some of the low-key character here is purely logistical. The stage at the Dominion is very small and the late morning/early afternoon schedul- ing of the brunch precludes anything but minimal stage lighting, given the abundant natural light streaming through the club windows. 37. The vitality of narrative against information in this example and in Benjamin’s wider analysis of storytelling prefigures Baudrillard’s jeremiad, discussed in Chapter 3, regarding the pornographic and therefore sterile character of the same. 38. For example, CD and MP3 formats are common throughout the rockabilly music world and vinyl retains the minority/cultist place it occupies in virtually all musical subcultures today. Also, while some absolute purists use recording techniques associated with the 1950s, this is quite rare. On the other hand, the passion for acoustic stand-up basses and their inclusion as theatrical props as well as musical instruments within live performances is very common within the culture. 39. In The Man Without Qualities, Robert Musil’s unfinished mid-century novel, the protagonist Ulrich reflects the title, allowing circumstance to dictate his existence, echoing Ezra Pound’s ‘An Object,’ the poem quoted in the introduction. 40. For a detailed analysis of the dynamics of this process from a rigor- ously Lacanian-Zizekian perspective, see Adrian Johnston’s Zizek’s Ontology: A Transcendental Materialist Theory of Subjectivity. 41. Indeed, one finds a continual reflection of the frustrations of evaluating the authentic character of the other in many of the films analyzed in Chapter 4 (see, especially, She’s One of Us, Mulholland Drive,andIntimate Strangers). 42. Van Leeuwen’s stated aim is to provide a ‘framework for analyzing the way discourses construct legitimation for social practices in public communication as well as in everyday interaction’ (p. 91) and while linked to the more micro-analytical methods of critical discourse analysis, his inclusion of a 206 Notes

final, often image-based mythopoeic category for these discourses suggests the importance of such nontraditional and aesthetically oriented forms of communication in the cultivation of community-based standards for evaluating social practice. Leeuwen also recognized ‘multimodal legitimation,’ a process that draws in a wide range of media and includes both linguistic and non-linguistic forms of communication. 43. I have written about the prohibitions on exploitation of fellow fans in my own work on the ‘Kiss Army’ (see Bailey, p. 147). 44. Kattari discusses this aspect of psychobilly extensively and, indeed, the Cramps (arguably the most popular and certainly aesthetically significant of the psychobilly bands) recorded a number of songs—‘TV Set’ and ‘Goo Goo Muck,’ for example—that deploy horror narratives and celebrate this interest with a 1983 single, ‘I Ain’t Nuthin’ But a Gorehound,’ complete with a ‘monster movie’ picture sleeve. 45. The issue of mediation has excited a great deal of conversation within the intellectual world of performance studies, one that has tended to rely upon a narrower, more conventionally theatrical definition of performance than the post-Goffmanian dramaturgical perspective. Philip Auslander’s very influential 1999 Liveness: Performance in a Mediatized Culture, updated with greater attention to digital/virtual culture in a 2008 edition is perhaps the most significant treatment of the issue, and argues against a strong binary oppo- sition of the live and the mediated and a refusal of the prioritization of the former. Auslander’s perspective is useful to a degree in a case for the contin- ued validity of Goffman’s Gender Advertisements; as noted in Chapter 1, this book reflects his most sustained engagement with issues of mediated—and through photography—‘frozen’ social performances. However, Auslander remains focused on performance-as-practice rather than on the meta- physics of social drama, the emphasis of my own theoretical and analytical work. 46. Here, Zygmunt Bauman’s distinction between a ‘pilgrim’ and a ‘tourist’ is useful in illustrating the distinctions between a quest for a final, authentic soul and the comfortingly temporary character of the visitor that delib- erately seeks only limited duration hospitality; while a simple analysis of rockabilly as pilgrimage and OOTD blogging as tourism only scratches the surface of these phenomena, it does lay out some of the basic features of the two cultures. See Bauman, ‘From Pilgrim to Tourist—or, a Short History of Identity’. 47. Here, the tragic end to the story upon which Time Out is based, discussed in Chapter 4, is salient in illustrating a worst case scenario for the failed attempt at a parasitic taking-on of the other.

Conclusion: Performance as a Psycho-Existential Problem or, Between Performance Studies and Performativity

1. Clearly, there is inadequate space to offer anything but a scant paraphrase of Butler’s extremely erudite and wide-ranging contribution to contemporary theory and I do not intend for her work to act as a kind of straw ﬁgure Notes 207

for the more psychoanalytically inclined, or perhaps simply more Lacanian, perspective I have sought to build in the preceding sections. Indeed, the aim of much of her work is quite similar to my own. 2. For a cogent and sympathetic treatment of Butler’s interest in Freudian melancholia, see the review of The Psychic Life of Power by esteemed Marxist literary critic Pierre Macheray in a 2004 issue of the journal Rethinking Marxism (pp. 7–17). 3. Baudrillard is quite sympathetic on the whole to Kristeva’s project in Rev- olution in Poetic Language and Desire in Language. As Victoria Grace notes in Baudrillard’s Challenge: A Feminist Reading, Baudrillard follows Kristeva on the general point of the potential negativity of poetic language but finds that in the end, ‘Kristeva transforms the movement of negativity into a harmonious combinatory of a plurality of values’ (p. 178). 4. To be fair, Butler offers a very extensive and nuanced analysis of ‘the real’ in her follow-up to Gender Trouble, Bodies that Matter, in which she identifies a tension linked to Žižek’s tendency to posit real as both substance and void. ‘Significantly, I think, the “real” that is a “rock” or a “kernel” or sometimes a “substance” is also, and sometimes within the same sentence, “a loss” a “negativity”; as a figure, it appears to slide from substance to dissolution, thereby conflating the law that institutes the “lack” and the “lack” itself’ (p. 198). While Butler is most concerned the political implications of this apparently wavering conceptualization, the criticism reproduces Copjec’s description of Butler’s attempt to include in this case ‘lack’ within the ‘realm of possibility’. 5. Žižek argues that the Foucault–Habermas debate, so often taken to be the debate of contemporary critical theory, is far less radical than Althusser– Lacan and in fact the two thinkers are ‘two sides of the same coin’ in their aestheticization and rationalization, respectively, of ethics (1989, p. 2). 6. The style of theorization inevitably risks condemnation as a kind of heresy of hybridity from the more orthodox segments of the psychoanalytic community, a community that might insist on the untranslatability of Lacanian concepts (or indeed to define them precisely by a kind of untranslatability). I feel no such burden, to be blunt, and accept that there are always risks in putting unlikely thinkers together. 7. Recall Gouldner’s and Habermas’ critiques of Goffman described in Chapter 1. 8. A key theme, as noted, in the films American Psycho, She’s One of Us, and Strangeland. 9. There is a bit of a tangle of language here, as reality for Baudrillard certainly bears little resemblance to the Lacanian real. Baudrillard had a complex and sometimes antagonistic relationship with the Lacanian tradition, with the most extended engagement in the middle period Symbolic Exchange and Death. For a keen treatment of many issues around this engagement, see ‘Jean Baudrillard and the Lacanian Left,’ a recent International Journal of Baudrillard Studies article by Georgios Papadapoulos. 10. Here Baudrillard displays a certain resemblance to some of the connections between materiality and the real in the later Lacan (see Eyers). 11. I would note that while we share a psychoanalytic orientation, my sense of ‘disappearance’ in social performance is quite different from Phelan’s; she uses it to indicate the transformation of performance in recorded form (here, 208 Notes

for Phelan, performance ‘disappears’) while I reject this binary, as evident in the discussion of ‘performances’ and ‘exhibitions’ in Chapter 5. 12. The exception here is Auslander’s analysis, in Liveness, of judicial proceed- ings, although there is a particular interest in the courtroom as a space for the mixing of mediated discourses and thus as a kind of performance piece. 13. This is not to diminish the importance of Goffman’s cautious insistence on dramaturgy as an interpretive scaffold rather than a rubric for understanding public behavior. 14. Stake has dedicated a good bit of his career to thoughtful reflection on the case study, giving his work a particular resonance in this sub-field of qualitative methods. 15. At least as of the present moment (June 2015). It is surely a mug’s game to try to predict with any certainty the future trajectory of television programming. 16. As discussed in Chapter 4, food systems can have a powerful role in the construction of a cultural symbolic self-image, as in the French angst over the possible decline in prestige of their national cuisine. 17. A significant percentage of this scholarly work focuses on neo-Victorian literary fiction but investigations into broader subcultural manifestations of neo-Victorianism, such as steampunk, are emerging. See, for example, Taddeo and Miller’s edited collection, Steaming into a Victorian Future,an anthology of scholarly work on the subculture. Works Cited

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Filmography

American Psycho (2000), Directed by Mary Harron The Adversary (2002), Directed by Nicole Garcia Being There (1979), Directed by Hal Ashby Beyond the Clouds (1995), Directed by Michelangelo Antonioni Bigger than Life (1956), Directed by Nicholas Ray Hidden (2005), Directed by Michael Haneke Catch Me if You Can (2002), Directed by Steven Spielberg Dog Day Afternoon (1975), Directed by Sidney Lumet TheDoubleLifeofVeronique (1991), Directed by Krzysztof Kieslowski EDTV (1999), Directed by Ron Howard Funny Games (1997), Directed by Michael Haneke The Girlfriend Experience (2009), Directed by Steven Soderbergh Hiding Out (1987), Directed by Bob Giraldi Inland Empire (2006), Directed by David Lynch Intimate Strangers (2001), Directed by Patrice Leconte Lost Highway (1997), Directed by David Lynch Mad City (1997), Directed by Costa-Gavras Magic Mike (2012), Directed by Steven Soderbergh Mulholland Drive (2001), Directed by David Lynch Network (1976), Directed by Sidney Lumet Never Been Kissed (1999), Directed by Raja Gosnell The Passenger (1975), Directed by Michelangelo Antonioni The Piano Teacher (2001), Directed by Michael Haneke The Queen of Versailles (2012), Directed by Lauren Greenﬁeld Real Life (1979), Directed by Albert Brooks Reality Bites (1994), Directed by Ben Stiller The Seventh Continent (1989), Directed by Micheal Haneke She’s One of Us (2003), Directed by Siegrid Alnoy Six Degrees of Separation (1993), Directed by Fred Schepisi The Stepfather (1987), Directed by Joseph Ruben The Straight Story (1999), Directed by David Lynch Strangeland (1998), Directed by Jon Piper Sullivan’s Travels (1941), Directed by Preston Sturges Three Colors: Red (2005), Directed by Krzysztof Kieslowski Time Out (2001), Directed by Laurent Cantet The Truman Show (1998), Directed by Peter Weir The White Ribbon (2009), Directed by Michael Haneke With a Friend Like Harry (2000), Direct by Dominick Moll Zelig (1983), Directed by Woody Allen

Web Sites and Videos

Fashion Blogs The Styling Dutchmen (http://stylingdutchman.blogspot.ca/) What Wound a Nerd Wear (http://whatwouldanerdwear.blogspot.ca/) Jean Griege (http://jeangreige.blogspot.ca/) Works Cited 217

Yours Truly, X (http://www.yourstrulyxblog.com/) Randomly-Jae (http://randomly-jae.tumblr.com/) Serial Klother (http://www.serialklother.com/) Love, Blair (http://www.blairbadge.com) What I Wore on My Run (http://onmyrun.tumblr.com/) Schoolmarm Style (http://schoolmarmstyle.blogspot.ca/) Apples and Pencil Skirts (http://applesandpencilskirts.blogspot.ca/) Into the Fold (http://www.intothefoldfashion.com/)

OOTD Youtube Channels Emily Anderson (https://www.youtube.com/user/EmilyAndersonMobey) DamaV425 (https://www.youtube.com/user/DamaV425) Gehm Time (https://www.youtube.com/user/kgehmvlogs) GlitterOdyssey (https://www.youtube.com/user/GlitterOdyssey) Hannah Knight (https://www.youtube.com/user/nahknight) Hey Lady J (https://www.youtube.com/user/xoxLadyJ) iamMilaine (https://www.youtube.com/user/iamMilaine) itsabellavita (https://www.youtube.com/user/itsabellavita) Laura Lois (https://www.youtube.com/user/xeverygirlx) Possessed by a Dinosaur (https://www.youtube.com/user/PossessedByADinosaur) Style by Sophia (https://www.youtube.com/user/Sophializshine)

Rockabilly Web World Rockabilly Fever (http://www.rockabillyfever.com/) Rockabilly Forum (http://www.rockabilly-forum.com/rockabilly/) Rockabilly Lifestyle (http://www.rockabillylifestyle.com/) Rockabilly Store (https://rockabillystore.com/) Index

The Adversary (film) 194 Binswanger, Ludwig 27–8, 33, 37, 41 Agamben 134 Bloopers 125–6 Allen, Woody 134 Bordwell, David 65–6, 194, 196 Alnoy, Siegrid 65 Bourdieu, Pierre 52, 61, 62, 88, 195 Althusser, Louis 181, 192 Bowie, Malcom 29 American Psycho (film) 81, 86–7, 93, Burke, Kenneth 2, 192 96, 99–101, 200 Butler, Judith 106, 178–83, 206–7 American Psycho (novel) 81, 100 Apples and Pencil Skirts (blog) 119, Cameron, Ed 179–81 120, 133, 200 Campbell, Joseph 171 Arendt, Hannah 56 Cantet, Laurent 65 Arkansas Delta Rockabilly Festiveal car shows 147–8 159 Catch Me if You Can (film) 92 Augé, Marc 75–6 Charles, Sebastien 59 Auslander, Philip 186–7, 206, 208 Chiesa, Lorenzo 31–2, 57 Austin, J.L. 14, 16, 34 Chittenden, Tara 106–7 Cochran, Eddie 141, 145, 153, 154, Badiou, Alain 53–4, 193 170 Bakhtin, Mikhail 161 Copjec, Joan 180–1 Bancroft, Alison 110–11, 132, 135, Costa-Gavras 9 199 Cramps (rock band) 140, 151, 154, Baudrillard, Jean 23, 31, 40, 67, 79, 169 84, 85, 88, 95–7, 107–8, 116, 119–20, 134, 156, 173, 175, 176, 184, 198, 207 ‘DamaV425’ (vlogger) 125 America 52–3, 55, 95–6 Daseinanalyses 27–9 Consumer Society 52 De Man, Paul 135, 149–50, 156, 157, Cool Memories I–IV 46 173, 201 For a Political Economy of the Sign Deadbolt (band) 157 61 Deleuze, Gilles 53–5, 65, 131–2, 202 The Mirror of Production 45, 61 Derrida, Jacques 135, 136, 192 Simulations 45 desire, theory of 29–37 The System of Objects 48, 52 Dewey, John 38 The Perfect Crime 45–6, 49, 55 Dilthey, Wilhelm 184 theory of artifice 45–56 Dreyfus, Hubert 192 theory of seduction 47–8 Durkheim, Emile 36 theory of the subject 31 theory of subjectivity 6, 7 Eagleton, Terry 192 The Transparency of Evil 46 EDTV 92 Bauman, Zygmunt 206 Elle Petition 90 Benjamin, Walter 166, 205 Elster, Jon 88 Berger and Luckmann 7 exhibitions vs. performances 103–6, Berger, Peter 36–7, 63 126, 150

218 Index 219 fashion culture 57–9, 60–2, 106–12 Horney, Karen 136, 202 Fenichel, Otto 176 Howard, Ron 92 Fliess, Wilhelm 104 Hymes, Dell 14 Fossati, Giovanna 130 hypermodernity 22, 57–62 Foucault, Michel 131–2, 192, 202 French Culture 87 Iammilaine (blog) 123–4 Freud, Sigmud 84–5, 97, 104, 176, Inland Empire (film) 67 182, 192 Innsdorf, Annette 194 Frow, John 88 Intimate Strangers 65, 72–3, 78, 95–7, 205 Gallup, Cliff 141 Into the Fold (blog) 122–3, 125 Giddens, Anthony 2, 26–7, 106 Itsabellavita (vlog) 133 Glitterodyssey (vlog) 126–7, 136 Godard, Jean-Luc 124 Jacob, Irene 79–80, 195 Goffman, Erving 34–7, 44–5, 57, James, Henry 1 101, 182–4, 191, 192, 197, 198 James, William 40 Asylums 8, 11–12, 24, 70 Jameson, Fredric 191 Behavior in Public Places 22 Jean Griege (blog) 113, 114, 115, Forms of Talk 16, 22, 23 120–1, 133 Frame Analysis 9, 14–16, 18, 44 Jelinek, Elfriede 88 Interaction Ritual 22 Jung, Carl 171 Gender Advertisements 16–17, 18, 22–3, 51–2, 64, 66, 111–12, 115 Kattari, Kim 145–6, 150, 162, 202, The Presentation of Self in Everyday 203, 206 Life 6, 7–11, 18, 134 ‘keying’ 14–16 Stigma 8, 11–13, 33, 83 ‘Kgehmvlogs’ (vlogger) 129 Gouldner, Alvin 7–8, 9, 10, 19, 21, Kieslowski, Krzysztof 64, 194, 195 66, 114, 133, 191 Kirchen, Bill 158 Grant, Megan 109–11, 118 Kristeva, Julia 109–10, 130, 179–80, Greenburg, Jennifer 143, 204 199 Gusfeld, Joseph 192 Kroker, Arthur 23 Kundera, Milan Habermas, Jurgen 8, 9, 10, 19, Slowness 5–6, 15, 21, 23, 196 21,191 Testaments Betrayed 15–16, 86, 118 Hacking, Ian 101–2 Haladyn, Julian 50 Lacan, Jacques 26–37, 54, 74, 78–9, Hall, Anthony Michael 93 101, 104, 134, 174, 182, 192–3, Haneke, Michael 64, 90, 195 207 Harding, Jeremy 89 The Seminar of Jacques Lacan Book III Harron, Mary 81 86 Heavy Trash (rock band) 138,139, The Seminar of Jacques Lacan, Book 1 152–7, 158, 169 30, 37 Hebdige, Dick 142–3 and subjective destitution 37 ‘hermeneutics of suspicion’ 74–6 and the petit objet a 31–4 Hidden (film) 65, 67–9, 70, 73, 79, Lagay, Alice 127 83, 94 Lakoff, George 191 Hiding Out (film) 94 Leconte, Patrice 65 Hijab debates 88–9 Lefebvre, Henri 45 Hogan, Bernie 103–4, 126, 150, 198 Levinas, Emmanuel 18, 20 220 Index

Lewis, Jerry Lee 151 Pipelow, John 93 Lipovetsky. Gilles 4, 57–63, 88, 108, Possessed by a Dinosaur (vlog) 126, 132 135 Lost Highway (ﬁlm) 67–8, 70, 73, 81, Pound, Ezra 1, 2, 188 94, 97 Powell, Benjamin and Tracy Louis 19, Le Roi Des Ondes (ﬁlm) 92 Stephenson Shaffer 185 Love Blair (blog) 117–18, 134 pragmatist philosophy 10, 26–7 Loxley, James 183 Presley, Elvis 138, 142, 166 Lynch, David 67–8, 194 Psychonauts (band) 157

Mad City 91, 196 Raffel, Stanley 18–21, 27, 30, 32, 192 A Man Without Qualities 134 RandomlyJae (blog) 114 Mannion, Oliver 105–6 Rank, Otto 18, 38–42, 56–7, 63, 74, Marcuse, Herbert 2 156, 193 Marks, John 54 Red/Three Colours: Red (ﬁlm) 65, McLuhan, Marshall 17–18 70–1, 79–80, 95, 96, 99, 101 Mead, George Herbert 20, 26, 42, regions of behaviour 22–3, 42–3 191, 202 Reynolds, Simon 156 Meteors (rock band) 140 Riley, Billy Lee 157 Miller, Mark Crispin 114 Rocamora, Agnes 106 mods 142–43 rockabilly music 138–77 Moll, Dominick 65 role distance 10, 150, 183 Montreal Red Hot Rockabilly Weekend Rosen, Carol 184 159 Roudinesco, Elisabeth 28 Mulholland Drive (ﬁlm) 67, 97, 205 Rudnystksy, Peter 38 Mulvey, Laura 67 Ruggerone, Lucia 108, 120, 130, 197 Musil, Robert 2, 134, 169, 205

Nahknight (blog) 123 Salo (film) 48, 84 Needleman, Jacob 26 Sarbin, Theodore and V.L. Allen 35 Never Been Kissed (film) 94, 95 Sarbin, Theodore 2, 35, 40, 140–1, Nixon, Mojo 157 202 non-place, concept of 75–6 Sartre, Jean-Paul 18–21, 26, 27–30, 32, 42, 57, 63, 74, 79, 86, 114, OOTD blog 112–22 174, 193, 197 OOTD Vlog 122–31 Schechner, Richard 184–6, 187 otherness, concept of 21–3, 31–5, 49, Scheff, Timothy 9 172–7 Schepisi, Fred 92 Schoolmarm Style (blog) 118–19 Palmgren, Anne-Charlotte 106 Schrift, Alan 178–79 Pelias, Ron and James Van Oosting SerialKlothier (blog) 117, 120 185, 186 Setzer, Brian 170 performance studies 184–8 The Seventh Continent (film) 90 Perry, Katy 141,145, 158, 166 ShaNaNa(band) 154 Phelan, Peggy 185, 207–8 Sharpe, Matthew 28 photography 17, 49–51 She’s One of Us 65, 71–2, 76–8, 83, The Piano Teacher (film) 65, 69, 70–1, 86, 93, 94, 96, 175, 176, 205 73, 78–83, 85, 86, 94, 95, 99, 176 situated activity system 102–3 Pinch, Trevor 101–3, 119, 135 Six Degrees of Separation 92–3 Index 221 social role 10, 11, 13–14, 20–3, 33–7, Van Leuwen, Theo 170–1, 205–6 38–41, 141–2 Verta-Ray, Matt 152 ‘sophializshine’ (vlogger) 100–1 Vincent, Gene 151, 153, 170 Spencer, Jon 138, 152–7, 166, Virilio, Paul 4 170 virtual identity 12 Srinivasen, Nirmala 8 Viva Las Vegas Rockabilly Weekend Stake, Robert 189, 208 147, 148, 159–60, 203 Stebbins, Robert 10, 21, 57 Voyeurism 67–74 Steinberger, Michael 89 Steven Spielberg 92 Weir, Peter 91 Stiller, Ben 92 What I Wore (On My Run) (blog) 118 Strangeland (film) 93–4 What Would a Nerd Wear (blog) 113, Stray Cats (rock band) 139, 154 114–15, 121–2, 126, 133, 134, 136 Sturges, Preston 94 The White Ribbon (film) 90 The Styling Dutchman (blog) 112–13, Wild at Heart (film) 67 120, 121 Wilson, Tony 122 Sullivan’s Travels (film) 94 Winter, Brownwyn 89–90 With a Friend Like Harry (film) 65, tattoing 145–6, 202 72–3, 75, 78, 80, 81–2, 83–5, 86, Tav Falco’s Panther Burns (band) 93–4, 166, 175 151, 154 technological determinism 17 ‘XoxLady’ (vlogger) 126 Time Out (film) 65, 70, 73, 74–8, 84, 92, 94, 101, 175, 206 Toronto Rockabilly Brunch Yours Truly, x (blog) 113, 114–15, 200 163–164 Yukio Mishima 69 TheTrumanShow(film) 91, 92, 95, 196 Zelig (film) 134 Tugendhat, Ernst 21, 134 Žižek, Slavoj 29, 32, 41, 54, 70, 75, Turner, Victor 184–5 82–3, 86, 166, 181–2, 192, 193, Turner, Victor 38 205, 207