Notes

Introduction: Picturing

1. Gilles Deleuze and Felix Guattari, A Thousand Plateaus (Minneapolis, MN: University of Minnesota Press, 1987), 86. 2. In this way, the “trouble” that my image causes is related to, albeit slightly different than, the way in which Judith Butler mobilizes the term trouble. Judith Butler, Gender Trouble (New York: Routledge, 1990). 3. Joseph Roach, “Culture and Performance in the Circum-Atlantic World,” in Performativity and Performance, ed. Andrew Parker and Eve Kosofsky Sedgwick (New York: Routledge, 1995), 48. 4. Joseph Roach, Cities of the Dead: Circum-Atlantic Performance (New York: Columbia University Press, 1996), 11. 5. Ibid., 12. 6. Ibid., 2. 7. It is important to note here that I am not necessarily referring to linear notion of history. “Prior” is a construction or fiction that is enabled through the process of surrogation and the actual citational links between and among cultural events occur along multiple pathways and in multiple directions. A rhizomatic distribution, if you will. 8. Roach, Cities of the Dead, 3. 9. Chapter One provides an extended discussion of the association between tat- toos and deviant behavior. 10. Roach, Cities of the Dead, 27. 11. Ibid. 12. Ibid. 13. Ibid. 14. Roach, Cities of the Dead, 27–28. 15. W.J.T. Mitchell, What do Pictures Want (Chicago, IL: University of Chicago Press, 2005), xiii. 16. See, for example, Paul DuGay, Stuart Hall, Linda Janes, Hugh Mackay, and Keith Negus, Doing Cultural Studies (London: Sage, 1997). 158 Notes Chapter One Vital Images: The Performance of Performativity

1. Stuart Hall, “Cultural Studies and its Theoretical Legacies,” in The Cultural Studies Reader, ed. Simon During (New York: Routledge, 1999), 107. 2. Dick Hebdige, Subculture: The Meaning of Style (London: Methuen, 1979), 139. 3. Peggy Phelan, Unmarked: The Politics of Performance (New York: Routledge, 1993), 2. 4. William DeMichele, The Illustrated Woman (New York: Proteus Press, 1992), 73. 5. Judith Butler, Bodies that Matter (New York: Routledge, 1993), 10. 6. Citationality refers to the ways in which representations and/or performances explicitly or implicitly refer to or depend upon prior and concurrent repre- sentations for their meaning. Jennifer’s picture, for example, could be argued to cite the conventions of wanted posters with the close-up shot of the face centered in the frame. Alternately, the image also arguably refers to other pop- ular cultural images of women with shaved heads. For instance, the photo was taken and the book published in the early 1990s, when Sine´ad O’Connor was at the height of her popularity after the release of I Do Not Want What IHaven’t Got. O’Connor’s famously shaved head and her subsequent politi- cal protest—such as tearing apart the image of the Pope John Paul II on Saturday Night Live (October 3, 1992) in protest of Catholic priest sexual misconduct—are consequently part of the citational story of Jennifer’s image. 7. Ott has recently suggested, for example, that the search for representational resistance and normative reproduction has become predictable and boring. Brian Ott, “(Re)Locating Pleasure in Media Studies: Toward an Erotics of Reading,” Communication and Critical/Cultural Studies, 1 (2004): 194–212. Wiley also indicates that despite Lawrence Grossberg’s call for an alternative approach to issues of politics and agency in cultural studies, that there is a continued modernist assumption behind cultural critiques of representation. Stephen Crofts Wiley, “Spatial Materialism: Grossberg’s Deleuzian Cultural Studies,” Cultural Studies, 19 (January 2005): 63–99. 8. Wiley, 65. I do not mean to say, however, that there are not critiques of this type of representational economy. Clearly, the reliance on the work of Deleuze and Guattari in this book indicates that the epistemology of repre- sentation has been long under fire. 9. Hans Ulrich Gumbrecht, Production of Presence: What Meaning Cannot Convey (Sta