The wow climax: Tracing the emotional impact of popular culture

The Wow Climax: Tracing the Emotional Impact of Popular Culture

Volumn , Issue , 2007, Pages 1-285

  Jenkins, Henry ^a  

^a MIT's Compar Media Studies Program   (United States)

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EID: 84900045974     PISSN: None     EISSN: None     Source Type: Book    
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References (336)

1. Steven Johnson, Everything Bad Is Good for You: How Today's Popular Culture Is Actually Making Us Smarter (New York: Riverhead Books, 2005).
2. Walter De Leon, " The Wow Finish," Saturday Evening Post, February 14, 1925; reprinted in Charles W. Stein, ed., American Vaudeville as Seen by Its Contemporaries (New York: Alfred A. Knopf, 1984), p. 194.
3. Henry Jenkins, What Made Pistachio Nuts? Early Sound Comedy and the Vaudeville Aesthetic (New York: Columbia University Press, 1992).
4. Sergei Eisenstein, " Montage of Attractions," in Richard Taylor, ed., The Eisenstein Reader (London: British Film Institute, 1998), p. 30.
5. See David Bordwell, The Cinema of Eisenstein (Cambridge, MA: Harvard University Press, 1993), p. 119.
6. Daniel Gerould, " Russian Formalist Theories of Melodrama," Journal of American Culture 1, no. 1 (Spring 1978): 154-55.
7. David Bordwell, Planet Hong Kong: Popular Cinema and the Art of Entertainment (Cambridge, MA: Harvard University Press, 2000), p. 8.
8. Tom Gunning, " The Cinema of Attractions: Early Film, Its Spectator, and the Avant-Garde," Wide Angle 3 (1986): 56-62.
9. David Freeman, Creating Emotion in Games (New York: New Riders, 2003), p. 16.
10. C. S. Lewis, " On Stories," in On Stories and Other Essays on Literature (New York: Harvest, 1966), pp. 7-8.
11. Bordwell, Planet Hong Kong, p. 13.
12. Gilbert Seldes, The Seven Lively Arts (New York: Sagmore Press, 1957).
13. Pierre Bourdieu, Distinction: A Social Critique of Taste (Cambridge, MA: Harvard University Press, 1984), p. 33.
14. Lawrence Levine, Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America (Cambridge, MA: Harvard University Press, 1990), p. 26.
15. John F. Kasson, Rudeness and Civility: Manners in Nineteenth-Century Urban America (New York: Hill and Wang, 1990).
16. Alan McKee, ed., Beautiful Objects in Popular Culture, full citation coming.
17. J. Hoberman, " Vulgar Modernism," in Vulgar Modernism: Writing on Movies and Other Media (Philadelphia: Temple University Press, 1991), pp. 32-39.
18. Shigeru Miyamoto, as quoted in Marc Saltzman, ed., Game Design Secrets of the Sages, 2d ed. (Indianapolis: Macmillan, 2000), p. 10.
19. Jack Kroll, " Emotional Engines? I Don't Think So," Newsweek, February 27 2000, p. 4.
20. Hal Barwood, " The Envelope Please?" Game Developer, February 2002.
21. Kurt Squire, " Educating Game Designers: An Interview with Warren Spector," Joystick 101, May 23, 2001.
22. For examples of the new scholarship emerging around games, see Noah Wardrip-Fruin and Pat Harrigan, eds., First Person: New Media as Story, Performance, and Game (Cambridge, MA: MIT Press, 2006);
23. Lucian King and Conrad Bain, eds., Game On (London: Barbican, 2002);
24. the online journal Game Studies, http://www.gamestudies.org/; or the current volume.
25. For a useful overview of Seldes's contributions to American arts and letters, see Michael G. Kammen, The Lively Arts: Gilbert Seldes and the Transformation of Cultural Criticism in the United States (Oxford: Oxford University Press, 1996).
26. Gilbert Seldes, The Seven Lively Arts (New York: Sagmore Press, 1957), p. 193.
27. Barwood, " The Envelope Please?"
28. Seldes, The Seven Lively Arts, p. 272.
29. Seldes, The Seven Lively Arts, p. 223.
30. These historical transitions have attracted considerable scholarly attention within film studies circles. For a useful overview, see Thomas Elsaesser and Adam Barker, eds., Early Cinema: Space-Frame-Narrative (London: British Film Institute, 1990).
31. Seldes, The Seven Lively Arts, p. 288.
32. Kroll, " Emotional Engines? I Don't Think So," p. 64.
33. Steven Poole, Trigger Happy: Videogames and the Entertainment Revolution (New York: Arcade Publishing, 2000), pp. 218-20.
34. Frank Lantz and Eric Zimmerman, " Checkmate: Rules, Play and Culture," Merge (1999), http://www.ericzimmerman.com/texts/RulesPlayCulture.htm.
35. See also Eric Zimmerman, " Do Independent Games Exist?" in Lucian King and Conrad Bain, eds., Game On (London: Barbican, 2002): " Games suffer from cinema envy. What passes for 'realism' in games is an awkward and unimaginative use of 3D computer graphics. It's time for game developers to stop trying to replicate the pleasures of film. Games need to find their own forms of expression, capitalizing on their unique properties as dynamic, participatory systems" (p. 125).
36. Seldes, The Seven Lively Arts, p. 286.
37. Poole, Trigger Happy, p. 226.
38. Seldes, The Seven Lively Arts, p. 19.
39. Squire, " Educating Game Designers."
40. Sergei Eisenstein, " Montage of Attractions," Drama Review (March 1974): 77-85.
41. Vadim Uraneff, " Commedia Dell'Arte and American Vaudeville," Theatre Arts (October 1923): 326.
42. For a useful discussion of the aesthetics of early video games, see Van Burnham and Ralph H. Baer, Supercade (Cambridge, MA: MIT Press, 2001).
43. Seldes, The Seven Lively Arts, p. 175.
44. Robert Lytell, " Vaudeville Old and Young," New Republic, July 1 1925, p. 156.
45. David Perry, as quoted in Saltzman, Game Design Secrets of the Sages, p. 18.
46. James Newman, " On Being a Tetraminoe: Mapping the Contours of the Videogame Character," paper delivered at the International Game Cultures Conference, Bristol, England, June-July 2001.
47. Dikarika, " Tales from a DDR Addict," Joystick 101, January 12, 2002.
48. Alex Rigopulos, e-mail correspondence with the author, March 1, 2002.
49. " Gamers Set for Sensory Overload," BBC News, March 1, 2002, http://news.bbc.co.uk/1/hi/sci/tech/1846561.stm.
50. David Bordwell, Planet Hong Kong: Popular Cinema and the Art of Entertainment (Cambridge, MA: Harvard University Press, 2000), p. 244.
51. Seldes, The Seven Lively Arts, p. 37.
52. Henry Jenkins, " Game Design as Narrative Architecture," in Wardrip-Fruin and Harrigan, eds., First Person, pp.118-30.
53. Kurt Squire and Henry Jenkins, " The Art of Contested Spaces," in King and Bain, eds., Game On (London: Barbican, 2002), pp. 64-76.
54. Squire, " Educating Game Designers."
55. Seldes, The Seven Lively Arts, p. 289.
56. Gilbert Seldes, The Great Audience (New York: Viking, 1950).
57. Matthew Barney, as quoted in Richard Flood, " The Land of Everlasting Hills," in Cremaster 2 (Minneapolis: Walker Art Center, 1999), p. 2.
58. David Cronenberg, as quoted in Ian Conrich, " An Aesthetic Sense: Cronenberg and Neo-Horror Film Culture," in Michael Grant, ed., The Modern Fantastic: The Films of David Cronenberg (Westport, CT: Praeger, 2000), p. 37.
59. Matthew Barney, personal correspondence with author.
60. Jerry Saltz, " The Next Sex," Art in America, October 1999, pp. 82-91.
61. Michael Kimmelman, " The Importance of Matthew Barney," New York Times Magazine, October, 10 1999, pp. 62-69.
62. Dan Cameron, " Matthew Barney, Escape Artist," in Matthew Barney, Cremaster 1, Cremaster 4 (Barcelona: Fundació la Caixa, 1998), p. 33.
63. Flood, " The Land of Everlasting Hills."
64. Robin Wood, Hollywood from Vietnam to Reagan (New York: Columbia University Press, 1986).
65. On the production of Cabinet of Dr. Caligari, see Mike Budd, The Cabinet of Dr. Caligari: Texts, Contexts, Histories (New Brunswick, NJ: Rutgers University Press, 1990).
66. Unless otherwise noted, quotations by David Cronenberg are from Chris Rodley, ed., Cronenberg on Cronenberg (London: Faber and Faber, 1992), and are cited by page number in the text.
67. Joan Hawkins, Cutting Edge: Art-Horror and the Horrific Avant-Garde (Minneapolis: University of Minnesota Press, 2000).
68. David Sanjek, " Fans' Notes: The Horror Film Fanzine," in Ken Gelder, ed., The Horror Reader (New York: Routledge, 2000), pp. 314-23.
69. Mark Kermode, " I Was a Teenage Horror Fan, Or, How I Learned to Stop Worrying and Love Linda Blair," in Martin Barker and Julian Petley, eds., Ill Effects: The Media/Violence Debate (London: Routledge, 1997), pp. 126-34.
70. Judith Halberstam, Skin Shows: Gothic Horror and the Technology of Monsters (Durham, NC: Duke University Press, 1995), p. 8.
71. See, for example, Philip Brophy, " Horrality-the Textuality of Contemporary Horror Films," in Gelder, ed., The Horror Reader, pp. 276-84.
72. Linda Ruth Williams, " The Inside-Out of Masculinity: David Cronenberg's Visceral Pleasures," in Michael Aaron, ed., The Body's Perilous Pleasures: Dangerous Desires and Contemporary Culture (Edinburgh: Edinburgh University Press, 1999), p. 34.
73. Cronenberg, as quoted in Conrich, " An Aesthetic Sense," p. 37.
74. Charles Burns, Black Hole (New York: Random House), n.p.
75. Fuchs, quoted in H. R. Giger, Retrospective, 1964-1984 (Zurich: ABC Verlag, 1985).
76. Linda Williams, " Body Genres: Gender, Genre, and Excess," in Sue Thornham, ed., Feminist Film Theory: A Reader (New York: New York University Press, 1999), pp. 267-81.
77. Saltz, " The Next Sex."
78. See, for example, Hy Bender and Neil Gaiman, The Sandman Companion (New York: Vertigo Books, 1999).
79. For a useful introduction to Cordwainer Smith's work, see The Rediscovery of Man: The Complete Short Stories of Cordwainer Smith, ed. James A. Mann (Boston: New England Science Fiction Association, 1993).
80. Robert Warshow, The Immediate Experience: Movies, Comics, Theatre and Other Aspects of Popular Culture (Cambridge, MA: Harvard University Press, 2001), p. xxxvii.
81. Rhona J. Berenstein, Attack of the Leading Ladies: Gender, Sexuality and Spectatorship in Classic Horror Cinema (New York: Columbia University Press, 1995);
82. Kevin Heffernan, Ghouls, Gimmicks, and Gold: Horror Films and the American Movie Business, 1953-1968 (Durham, NC: Duke University Press, 2004);
83. Eric Schaefer, " Bold! Daring! Shocking! True!" : A History of Exploitation Films, 1919-1959 (Durham, NC: Duke University Press, 1999).
84. Lawrence Grossberg, Dancing in Spite of Myself: Essays on Popular Culture (Durham, NC: Duke University Press, 1997);
85. Jackie Stacey, Star Gazing: Hollywood Cinema and Female Spectatorship (London: Routledge, 1994);
86. Richard Dyer, Only Entertainment (London: Routledge, 1992).
87. Robert Warshow, " Paul, the Horror Comics, and Dr. Wertham," in The Immediate Experience, p. 72.
88. For more of my writing on contemporary debates about media violence, see Henry Jenkins, Fans, Bloggers, and Gamers: Essays on Participatory Culture (New York: New York University Press, 2006).
89. Robert Warshow, " The Gangster as Tragic Hero," in The Immediate Experience, p. 99.
90. Robert Warshow, " Movie Chronicle: The Westerner," in The Immediate Experience, p. 122.
91. Pierre Bourdieu, Distinction: A Social Critique of Taste (Cambridge, MA: Harvard University Press, 1984), p. 56.
92. Norbert Elias and Eric Dunning, The Quest for Excitement: Sport and Leisure in the Civilizing Process (New York: Basil Blackwell, 1986).
93. Henry Jenkins, " Wrestling with Theory, Grappling with Politics," in Nick Sammond, ed., Steel Chair to the Head: The Pleasure and Pain of Professional Wrestling (Durham, NC: Duke University Press, 2005), p. 299.
94. Linda Williams, " Film Bodies: Gender, Genre, and Excess," in Sue Thornham, ed., Feminist Film Theory: A Reader (New York: New York University Press, 1999), p. 269.
95. Henry Jenkins, " So You Want to Teach Pornography," in Pamela Church Gibson, ed., More Dirty Looks: Gender, Pornography and Power (Berkeley: University of California Press, 2004), pp. 1-8;
96. Henry Jenkins, " 'He's in the Closet But He's Not Gay': Male-Male Desire in Penthouse Letters," in Peter Lehman, ed., Pornography: Film and Culture (New Brunswick, NJ: Rutgers University Press, forthcoming).
97. See Henry Jenkins, What Made Pistachio Nuts? Early Sound Comedy and the Vaudeville Aesthetic (New York: Columbia University Press, 1992).
98. José Esteban Muñoz, Disidentifications: Queers of Color and the Performance of Politics (Minneapolis: University of Minnesota Press, 1999), p. 6.
99. " WWF Interview: A Talk with Jake 'the Snake' Roberts," WWF Magazine, February 1992, p. 17.
100. Roland Barthes, " The World of Wrestling," in A Barthes Reader, ed. Susan Sontag (New York: Hill and Wang, 1982), p. 23.
101. For useful background on the historical development of television wrestling, as well as an alternative reading of its narrative structures, see Michael R. Ball, Professional Wrestling as a Ritual Drama in American Popular Culture (Lewiston, ME: Edwin Mellen Press, 1990).
102. For a performance-centered account of WWF Wrestling, see Sharon Mazer, " The Doggie Doggie World of Professional Wrestling," The Drama Review, Winter 1990, pp. 96-122.
103. John Fiske, Television Culture (London: Methuen, 1982);
104. Tania Modleski, Loving with a Vengeance: Mass Produced Fantasies for Women (London: Methuen, 1982);
105. Jane Feuer, " Melodrama, Serial Form and Television Today," Screen 25 (1984): 4-16.
106. Christine Gledhill, " The Melodramatic Field: An Investigation," in Christine Gledhill, ed., Home Is Where the Heart Is: Studies in Melodrama and the Woman's Film (London: British Film Institute, 1987), pp. 12-13. David Thorburn similarly finds melodramatic conventions underlying much of prime-time television programming.
107. See Thorburn, " Television Melodrama," in Horace Newcomb, ed., Television: The Critical Eye, 4th ed. (New York: Oxford University Press, 1987), p. 7.
108. Norbert Elias and Eric Dunning, The Quest for Excitement: Sport and Leisure in the Civilizing Process (New York: Basil Blackwell, 1986), p. 41.
109. Peter Brooks, The Melodramatic Imagination: Balzac, Henry James, Melodrama, and the Mode of Excess (New Haven: Yale University Press, 1976).
110. Gledhill, " The Melodramatic Field: An Investigation," p. 21.
111. Keith Elliot Greenberg, " One Step Too Far: Boss Man and Mountie Clash over Meaning of Justice," WWF Magazine, May 1991, p. 40.
112. " The Mark of Cain: Shawn Michaels Betrays His Tag Team Brother," WWF Magazine, March 1992, p. 18.
113. " WWF Superstars Talk about Wrestlemania," WWF Magazine, March 1992, p. 18.
114. Robert Bechtold Heilman, The Iceman, the Arsonist, and the Troubled Agent: Tragedy and Melodrama on the Modern Stage (Seattle: University of Washington Press, 1968), p. 76.
115. Brooks, The Melodramatic Imagination, p. 34.
116. " WWF Interview: A Talk with Jake 'the Snake' Roberts," p. 17.
117. Brooks, The Melodramatic Imagination, p. 4.
118. Robert Bechtold Heilman, Tragedy and Melodrama: Versions of Experience (Seattle: University of Washington Press, 1968), p. 76.
119. " Elizabeth Balancing Family with Business," WWF Wrestling Spotlight, March 1992.
120. Eve Kosofsky Sedgwick, Between Men: English Literature and Male Homosocial Desire (New York: Columbia University Press, 1985).
121. " Meeting of the Minds: Jake and Andre-Psychological Interplay," WWF Magazine, August 1991, p. 52.
122. Keith Elliot Greenberg, " The Darkness Is in Me Forever . . . ," WWF Magazine, August 1991, p. 47.
123. Bruce Palmer, " Man over Money" : The Southern Populist Critique of American Capitalism (Chapel Hill: University of North Carolina Press, 1980), p. 3.
124. " WWF Superstars Talk about Wrestlemania," p. 18.
125. " Personality Profile: Repo Man," WWF Magazine, February 1992, p. 11.
126. " Salt of the Earth: Sid Justice Comes from the Land," WWF Magazine, November 1991, pp. 47-48.
127. " Tatanka: Leader of the New Indian Nation," WWF Magazine, April 1992, p. 55.
128. " A Talk with Big Boss Man," WWF Magazine, November 1991, p. 18.
129. " American Pride: Sarge and Duggan Protect Old Glory from the Nastys," WWF Magazine, March 1992, p. 52.
130. Daniel Kagen, " Corman's 'Slightly Corrupted' Fare," Insight, April 11, 1988, p. 61.
131. For a useful discussion of the play between commerce and art in Corman's career, see William A. Routt, " Art, Popular Art," Continuum: The Australian Journal of Media and Culture 7, no.2 (1994): 2-3.
132. Stephanie Rothman, " A New Beginning on Terminal Island," in Danny Peary, ed., Omni's Screen Flights/Screen Fantasies: The Future According to Science Fiction Cinema (Garden City: Doubleday, 1984), p. 142.
133. For a useful overview of Rothman's career, see Terry Curtis, " Fully Female," Film Comment, November-December 1976, pp. 46-52.
134. For background on Dimension, see Fred Olen Ray, The New Poverty Row: Independent Filmmakers as Distributors (Jefferson, NC: McFarland and Co., 1991), pp. 149-74;
135. Ed Lowery, " Dimension Pictures: Portrait of a Seventies Independent," The Velvet Light Trap, no. 22 (1986): 65-74.
136. For useful discussions of Corman's role as a producer, see David Chute, " The New World of Roger Corman," Film Comment, March-April 1982, pp. 27-32;
137. Dave Kehr, " B+: Four Auteurs in Search of an Audience," Film Comment, September-October 1977, pp. 6-15;
138. Michael Goodwin, " Velvet Vampires and Hot Mamas: Why Exploitation Films Get to Us," Village Voice, July 7 1975;
139. Jim Hillier and Aaron Lipstadt, Roger Corman's New World, BFI Dossier no. 7 (London: British Film Institute, 1981);
140. Michael Pye and Lynda Myles, The Movie Brats: How the Film Generation Took Over Hollywood (New York: Holt, Rinehart, and Winston, 1979);
141. Kim Newman, " The Roger Corman Alumni Association," Monthly Film Bulletin, November-December 1985;
142. Jim Hillier and Aaron Lipstadt, " The Economics of Independence: Roger Corman and New World Pictures, 1970-1980," Movie, Winter 1986, pp. 43-53.
143. Pam Cook, " Exploitation Films and Feminism," Screen, 1976, pp. 122-27.
144. Dave Chute, " The New World of Roger Corman," Film Comment, March-April 1982, pp. 27-32. Corman's comments are typically double-edged, since there were not many more women operating lathe drills in the early 1970s than directing movies; both images point to the battlegrounds where middleclass women were making claims for economic and professional equality.
145. J. Philip DiFranco, The Movie World of Roger Corman (New York: Chelsea House, 1979), p. 55.
146. Roger Corman and Jim Jerome, How I Made a Hundred Movies in Hollywood and Never Lost a Dime (New York: Delta Books, 1991), p. 184.
147. For key works in this tradition, see Claire Johnston, ed., Notes on Women's Cinema (London: Society for Education in Film and Television, 1973);
148. Claire Johnston, ed., Dorothy Arzner: Towards a Feminist Cinema (London: British Film Institute, 1975). Cook has reintroduced debate about Rothman in these terms multiple times since the publication of her initial 1976 Screen essay (see n. 7 above).
149. See, for example, Pam Cook, ed., The Cinema Book (London: British Film Institute, 1987), pp. 199-200;
150. Pam Cook, " Exploitation Films" and " Stephanie Rothman," in Annette Kuhn with Susannah Radstone, eds., The Women's Companion to International Film (Berkeley: University of California Press, 1990), pp. 139-10, 347-48;
151. Pam Cook, " The Art of Exploitation, or How to Get Into the Movies," Monthly Film Bulletin 52, no.623 (1985), pp. 367-69.
152. Laura Mulvey, " Visual Pleasure and Narrative Cinema," in Bill Nichols, ed., Movies and Methods II (Berkeley: University of California Press, 1985), pp. 303-15.
153. Claire Johnston, " Women's Cinema as Counter-Cinema," in Bill Nichols, ed., Movies and Methods I (Berkeley: University of California Press, 1976), p. 217.
154. Cook, " Exploitation Films and Feminism," p. 127.
155. Rothman, " A New Beginning on Terminal Island," p.141.
156. See, for example, Molly Haskell, From Reverence to Rape: The Treatment of Women in the Movies (New York: Penguin, 1974), for what was probably the earliest account of how women disappeared from 1970s films in response to the rise of feminism. Haskell, however, completely ignores the exploitation cinema.
157. Cook, " Exploitation Films and Feminism," p. 123.
158. Cook, " Exploitation Films and Feminism," p. 126.
159. Richard Dyer, " The Role of Stereotypes," in The Making of Images: Essays on Representation (London: Routledge, Chapman and Hall, 1993), pp. 11-18.
160. Cook, " Exploitation Films and Feminism," pp. 124-25. Cook's account of the exploitation film was influential in the development of arguments within the " progressive genre" debate.
161. See Barbara Klinger, " Cinema/Ideology/Criticism Revisited: The Progressive Genre," in Barry Keith Grant, ed., Film Genre Reader (Austin: University of Texas Press, 1986), pp. 74-90.
162. Paul Willemen, " Roger Corman: The Millenic Vision," in Paul Willemen, David Pirie, David Will, and Lynda Myles, ed., Roger Corman (Edinburgh: Edinburgh Film Festival, 1970), pp. 8-33.
163. Peter Fitting, " So We All Became Mothers: New Roles for Men in Recent Utopian Fiction," Science Fiction Studies 12 (1985): 156-83.
164. Rothman, " Exploitation Films and Feminism," p. 142.
165. Terry Curtis Fox, " Fully Female: Stephanie Rothman," Film Comment 12 (November-December 1976), pp. 46-50.
166. Barbara Lawton, " Lupe-No Change!" , Photoplay, December 1930, pp. 74ff.
167. Katherine Albert, " The Hot Baby of Hollywood, Otherwise Lupe Velez," New Movie, undated clipping (probably circa 1932), Lupe Velez file, Herbert Blum Collection, Wisconsin Center for Film and Theatre Research.
168. Ruth Biery, " The Love Life Story of Lupe Velez," unidentified clipping (probably circa 1930), Lupe Velez file, Herbert Blum Collection, Wisconsin Center for Film and Theatre Research.
169. Budd Schulberg, Moving Pictures: Memoirs of a Hollywood Prince (New York: Stein and Day, 1981), p. 339.
170. " Flirting with Dynamite," New Movie, June 1933, Lupe Velez File, Herbert Blum Collection, Wisconsin Center for Film and Theatre Research.
171. Biery, " The Love Life Story of Lupe Velez."
172. Kenneth Anger, Hollywood Babylon (New York: Dell, 1975), p. 332.
173. Edward G. Robinson, as quoted in Floyd Conner, Lupe Velez and Her Lovers (New York: Barricade, 1993), p. 60.
174. Conner, Lupe Velez and Her Lovers, p. 50.
175. For feminist work on Madonna, see Cathy Schwichtenberg, ed., The Madonna Connection: Representational Politics, Subcultural Identities, and Cultural Theory (Boulder, CO: Westview, 1993);
176. for feminist work on Annie Sprinkle, see Chris Straayer, " The Seduction of Boundaries: Feminist Fluidity in Annie Sprinkle's Art/Education/Sex," in Pamela Church Gibson, ed., More Dirty Looks: Gender, Pornography, and Power (London: British Film Institute, 2004), pp. 224-36;
177. Linda Williams, " A Provoking Agent: The Pornography and Performance Art of Annie Sprinkle," in Pamela Church Gibson and Roma Gibson, eds., Dirty Looks: Women, Pornography, Power (London: British Film Institute, 1993), pp. 176-92.
178. Kathleen Rowe, The Unruly Woman: Gender and the Genres of Laughter (Austin: University of Texas Press, 1995);
179. Mary Russo, The Female Grotesque: Risk, Excess and Modernity (New York: Routledge, 1994).
180. Natalie Zemon Davis, Society and Culture in Early Modern France (Stanford: Stanford University Press, 1975), pp. 124-25.
181. " Misbehaving Ladies," unidentified fan magazine clipping (circa 1929-30), Lupe Velez file, Herbert Blum Collection, Wisconsin Center for Film and Theatre Research.
182. Anger, Hollywood Babylon, p. 328.
183. Biery, " The Love Life Story of Lupe Velez."
184. For more on Winnie Lightner and Charlotte Greenwood, see Henry Jenkins, What Made Pistachio Nuts? Early Sound Comedy and the Vaudeville Aesthetic (New York: Columbia University Press, 1992), pp. 245-76. This essay on Lupe Velez was originally intended to be a third case study in this chapter, but its creation has been delayed by almost a decade.
185. On Mae West, see Ramona Curry, Too Much of a Good Thing: Mae West as Cultural Icon (Minneapolis: University of Minnesota Press, 1996);
186. Pamela Robertson, Guilty Pleasures: Feminist Camp from Mae West to Madonna (Durham, NC: Duke University Press, 1996).
187. Rowe, The Unruly Woman, p. 5.
188. Pamela Robertson Wojcik, " Mae West's Maids: Race, 'Authenticity,' and the Discourse of Camp," in Henry Jenkins, Tara McPherson, and Jane Shattuc, eds., Hop on Pop: The Politics and Pleasure of Popular Culture (Durham, NC: Duke University Press, 2003), pp. 287-99.
189. Michael Rogin, Blackface, White Noise: Jewish Immigrants in the Hollywood Melting Pot (Berkeley: University of California Press, 1996).
190. " Flirting with Dynamite," New Movie, June 1933, Lupe Velez file, Herbert Blum Collection, Wisconsin Center for Film and Theatre Research.
191. Richard Dyer, White (London: Routledge, 1997), p. 19.
192. " Misbehaving Ladies," unidentified fan magazine clipping (circa 1929-30), Lupe Velez file, Herbert Blum Collection, Wisconsin Center for Film and Theatre Research.
193. Roland Barthes, Mythologies (New York: Hill and Wang, 1983), pp. 56-57.
194. Robert K. Gluckson, " Sex Comics in the 1930s-1950s: A Genre History" (Master's thesis, University of Washington, 1992).
195. R. C. Harvey, " Getting Our Pornography Fixed," in R. C. Harvey, ed., The Tijuana Bibles: America's Forgotten Comic Strips, 2 vols. (Seattle: Eros Comics, 1996), vol. 1, p. 5.
196. " Hot Panties," in Harvey, ed., The Tijuana Bibles, vol. 1, pp. 39-43.
197. " Bigger Yet" in Harvey, ed., The Tijuana Bibles, vol. 2, pp. 62-66.
198. Peter Stallybrass and Allon White, The Politics and Poetics of Transgression (Ithaca, NY: Cornell University Press, 1986).
199. Mikhail Bakhtin, Rabelais and His World (Bloomington: Indiana University Press, 1984), p. 29.
200. Hardon Ever, " Nuts to Will Hays!," in Harvey, ed., The Tijuana Bibles, vol. 2, pp. 52-56.
201. " Eroll Sinn Shoots an Arrow" in Harvey, ed., The Tijuana Bibles, vol. 1, pp.104-8.
202. Russo, The Female Grotesque, p. 33.
203. Garson Kanin, Hollywood: Stars and Starlets, Tycoons and Flesh-Peddlers, Moviemakers and Moneymakers, Frauds and Geniuses, Hopefuls and Has-Beens, Great Lovers and Sex Symbols (New York: Bantam, 1974), pp. 390-411. Kanin's story probably provided the basis for the prostitute who looks like Veronica Lake, played by Kim Basinger, in LA Confidential.
204. Russo, The Female Grotesque, pp. 17-51.
205. " Mexicana," Vanity Fair, June 1932, p. 22, Lupe Velez file, Herbert Blum Collection, Wisconsin Center for Film and Theatre Research.
206. Ruth Biery, " The Best Showman in Town," Photoplay, November 1931, Lupe Velez file, Herbert Blum Collection, Wisconsin Center for Film and Theatre Research.
207. Conner, Lupe Velez and Her Lovers, p. 120.
208. Biery, " The Best Showman in Town."
209. Unidentified clipping (circa 1936), Lupe Velez file, Herbert Blum Collection, Wisconsin Center for Film and Theatre Research.
210. " Flirting with Dynamite," New Movie, June 1932, Lupe Velez file, Herbert Blum Collection, Wisconsin Center for Film and Theatre Research.
211. Carlos Monsiváis, Mexican Postcards, trans. John Kraniauskas (London: Verso, 1997), p. 71.
212. Barthes, Mythologies, pp. 56-57.
213. Dyer, White, pp. 89-90.
214. Duncan Underhill, " A Dash of Red Pepper," Screen Life, undated clipping (circa 1930), Lupe Velez file, Herbert Blum Collection, Wisconsin Center for Film and Theatre Research.
215. " Mexican Fire," undated clipping, Lupe Velez file, Herbert Blum Collection, Wisconsin Center for Film and Theatre Research.
216. Undated and unidentified clipping, Lupe Velez file, Herbert Blum Collection, Wisconsin Center for Film and Theatre Research.
217. Unidentified clipping (circa 1930), Lupe Velez file, Herbert Blum Collection, Wisconsin Center for Film and Theatre Research.
218. Biery, " The Best Showman in Town."
219. Conner, Lupe Velez and Her Lovers, p. 1.
220. Walt Morton, " Tracking the Sign of Tarzan: Trans-Media Representation of a Pop-Culture Icon," in Pat Kirkham and Janet Thumim, eds., You Tarzan: Masculinity, Movies, and Men (New York: St. Martin's Press, 1993), p. 116.
221. Conner, Lupe Velez and Her Lovers, p. 139.
222. Undated and unidentified clipping (circa 1930), Lupe Velez file, Herbert Blum Collection, Wisconsin Center for Film and Theatre Research.
223. Conner, Lupe Velez and Her Lovers, p. 137.
224. Eric L. Ergenbright, " Lupe Talks about Her Johnny," undated clipping, Lupe Velez file, Herbert Blum Collection, Wisconsin Center for Film and Theatre Research.
225. Undated and unidentified clipping (circa 1934), Lupe Velez file, Herbert Blum Collection, Wisconsin Center for Film and Theatre Research.
226. James Oles, South of the Border: Mexico in the American Imagination, 1914-1947 (Washington, DC: Smithsonian Institution Press, 1993), p. 49.
227. Conner, Lupe Velez and Her Lovers, pp. 1-3.
228. Katherine Albert, " The Hot Baby of Hollywood, Otherwise Lupe Velez," undated clipping, Lupe Velez file, Herbert Blum Collection, Wisconsin Center for Film and Theatre Research, claims that Lupe's father was shot through the heart during the Mexican Revolution. The revolution appears as a reference point in several of the other fan magazine profiles.
229. Monsiváis, Mexican Postcards, p. 73.
230. Jean Franco, Plotting Women: Gender and Representation in Mexico (New York: Columbia University Press, 1989), p. xviii.
231. Dyer, White, p. 122.
232. Ana M. Lopez, " Are All Latins from Manhattan? Hollywood, Ethnography, and Cultural Colonialism," in Lester D. Friedman, ed., Unspeakable Images: Ethnicity and the American Cinema (Urbana: University of Illinois Press, 1991), p. 414.
233. See also Shari Roberts, " 'The Lady in the Tutti-Frutti Hat': Carmen Miranda, a Spectacle of Ethnicity," Cinema Journal, Spring 1993, pp. 3-19
234. John Kasson, Rudeness and Civility: Manners in Nineteenth-Century Urban America (New York: Hill and Wang, 1990), pp. 114-15.
235. Schulberg, Moving Pictures, p. 338.
236. Biery, " The Love Life Story of Lupe Velez."
237. Gloria Anzaldua, " How to Tame a Wild Tongue," Borderlands/La Frontera: The New Mestiza (San Francisco: Aunt Lute Books, 1987), pp. 75-86.
238. Schulberg, Moving Pictures, p. 338.
239. This and subsequent quotes in this section are all taken from Anger, Hollywood Babylon, pp. 336-42.
240. For a fuller discussion of these issues, see Henry Jenkins, " Introduction: Childhood Innocence and Other Modern Myths," in Henry Jenkins, ed., The Children's Culture Reader (New York: New York University Press, 1998), pp. 1-38.
241. James R. Kincaid, " Producing Erotic Children," in Jenkins, ed., The Children's Culture Reader, pp. 241-53;
242. Jacqueline S. Rose, The Case of Peter Pan: Or the Impossibility of Children's Fiction (London: Macmillan, 1984).
243. Justine Cassell and Henry Jenkins, eds., From Barbie to Mortal Kombat: Gender and Computer Games (Cambridge: MIT Press, 2000);
244. Henry Jenkins, " From Barbie to Mortal Kombat: Further Reflections," in Anna Everett and John T. Caldwell, eds., New Media: Theories and Practices of Digitextuality, AFI Readers (New York: Routledge, 2003), pp. 243-54.
245. Roald Dahl, Charlie and the Chocolate Factory (New York: Alfred A. Knopf), pp. 145-46; cited hereafter by page number in the text.
246. Robert Hodge and David Tripp, Children and Television: A Semiotic Approach (Cambridge: Polity Press, 1986), pp. 2-3.
247. See Clifford Geertz, The Interpretation of Cultures (New York: Basic Books, 1973).
248. See Patricia Palmer, The Lively Audience: A Study of Children around the TV Set (Sidney: Allen and Unwin, 1986).
249. David Bordwell, Narration in the Fiction Film (Madison: University of Wisconsin Press, 1986), p. 31.
250. Bruno Bettelheim, " The Importance of Play," Atlantic (March 1987): 35-46.
251. L. S. Vygotsky, " Play and Its Role in the Mental Development of the Child," in J. S. Bruner, A. Jolly, and K. Sylva, eds., Play: Its Role in Development and Evolution (New York: Penguin, 1976), pp. 537-54.
252. T. Gertler, " The Pee-Wee Perplex," Rolling Stone, February 12, 1987, pp. 37-41.
253. Alison James, " Confections, Concoctions and Conceptions," in Henry Jenkins, ed., The Children's Culture Reader (New York: New York University Press, 1998), pp.394-405; cited hereafter by page number in the text.
254. Martha Wolfenstein, Children's Humor: A Psychological Analysis (Bloomington: Indiana University Press, 1954).
255. Henry Jenkins, " Star Trek Rerun, Reread, Rewritten: Fan Writing as Textual Poaching," Critical Studies in Mass Communication 5, no. 2 (1988): 85-107.
256. Hodge and Tripp, Children and Television, p. 85.
257. Keith Feinstein and Steven Kent, " Towards a Definition of Videogames" (1997), http://www.videotopia.com/errata1.htm.
258. A. Booth and D. Johnson, " The Effect of Crowding on Child Health and Development," American Behavioral Scientist 18 (1975): 736-49;
259. J. F. van Staden, " Urban Early Adolescents, Crowding and the Neighbourhood Experience: A Preliminary Investigation," Journal of Environmental Psychology 4 (1984): 97-118.
260. J. L. Kinchloe, " Home Alone and 'Bad to the Bone': The Advent of a Postmodern Childhood," in. S. R. Steinberg and J. L. Kinchloe, eds., Kinder-Culture: The Corporate Construction of Childhood (New York: Westview, 1997), pp. 31-52.
261. Elliott West, " Children on the Plains Frontier," in Elliott West and Paula Petrik, eds., Small Worlds: Children and Adolescents in America, 1850-1950 (Lawrence: University Press of Kansas, 1992), pp. 26-41.
262. Dominick Cavallo, Muscles and Morals: Organized Playgrounds and Urban Reform, 1880-1920 (Philadelphia: University of Pennsylvania Press, 1981).
263. Roger Hart, Children's Experience of Place (New York: John Wiley and Sons, 1979).
264. Robin C. Moore, Childhood's Domain: Play and Place in Child Development (London: Croom Helm, 1986);
265. Willem Van Vliet, " Exploring the Fourth Environment: An Examination of the Home Range of City and Suburban Teenagers," Environment and Behavior 15 (1983), pp. 567-88.
266. M. H. Matthews, Making Sense of Place: Children's Understanding of Large-Scale Environments (Hertfordshire: Barnes and Noble, 1992).
267. Frederick Donaldson, " The Child in the City" (1970), cited in Matthews Making Sense of Place, p. 000.
268. Moore, Childhood's Domain, p. 72.
269. Hart, Children's Experience of Place, p. 65.
270. John Newson and Elizabeth Newson, Seven Years Old in the Home Environment (London: Allen and Unwin, 1976).
271. H. L. Rheingold and K. V. Cook, " The Content of Boys' and Girls' Rooms as an Index of Parents' Behavior," Child Development 46 (1975): 459-63.
272. Matthews, Making Sense of Place, pp. 163-74.
273. Miriam Formanek-Brunnel, " The Politics of Dollhood in Nineteenth-Century America," in Henry Jenkins, ed., The Children's Culture Reader (New York: New York University Press, 1998), pp. 363-81.
274. E. Anthony Rotundo, American Manhood: Transformations in Masculinity from the Revolution to the Modern Era (New York: Basic Books, 1994), pp. 31-55.
275. Moore, Childhood's Domain, p. 000.
276. Rotundo, American Manhood, p. 45.
277. M. Kinder, " Contextualizing Video Game Violence: From 'Teenage Mutant Ninja Turtles 1' to 'Mortal Kombat 2,'" in Patricia M. Greenfield and Rodney R. Cocking, eds., Interacting with Video, Advances in Applied Developmental Psychology 11 (Norwood: Ablex, 1996), pp. 25-38.
278. Rotundo, American Manhood, p. 55.
279. Justine Cassell, " Storytelling as a Nexus of Change in the Relationship between Gender and Technology: A Feminist Approach," in Justine Cassell and Henry Jenkins, eds., From Barbie to Mortal Kombat: Gender and Computer Games (Cambridge, MA: MIT Press, 1998), pp. 298-327.
280. Justine Cassell and Henry Jenkins, " Chess for Girls? Feminism and Computer Games," in Cassell and Jenkins, eds, From Barbie to Mortal Kombat, pp. 2-45.
281. Elizabeth Segel, " 'As the Twig Is Bent . . . ': Gender and Childhood Reading," in Flynn and Schweickart, eds., Gender and Reading, p. 171.
282. Walter Farley, The Black Stallion (New York: Random House, 1941), p. 27.
283. Frances Hodgson Burnett, The Secret Garden (New York: Harper Collins, 1911), p. 71; cited hereafter by page number in the text.
284. Segel, " As the Twig Is Bent," pp. 171-72.
285. Norman N. Holland and Leona F. Sherman, " Gothic Possibilities," in Flynn and Schweickart, eds., Gender and Reading.
286. Louise Fitzhugh, Harriet the Spy (New York: Harper and Row, 1964), pp. 3-5; cited hereafter by page number in the text.
287. T. Friedman, " Making Sense of Software: Computer Games and Interactive Textuality," in Steve Jones, ed., Cybersociety: Computer-Mediated Communication and Community (Thousand Oaks, CA.: Sage Publications, 1995).
288. Theresa Duncan, quoted in " Interviews with Theresa Duncan and Monica Gesue (Chop Suey)," in Cassell and Jenkins, eds., From Barbie to Mortal Kombat, pp. 172-91.
289. Segel, " As the Twig Is Bent," p. 171-72
290. Jenkins and Cassell, " Chess for Girls?"
291. Barrie Thorne, Gender Play: Girls and Boys in School (New Brunswick: Rutgers University Press), 64-65.
292. Kathleen Kete, The Beast in the Boudoir: Petkeeping in Nineteenth-Century Paris (Berkeley: University of California Press, 1994).
293. On James Bond as a popular hero, see Tony Bennett and Janet Woollacott, Bond and Beyond: The Political Career of a Popular Hero (New York: Methuen, 1987).
294. On Batman, see Roberta E. Pearson and William Uricchio, eds., The Many Lives of Batman: Critical Approaches to a Superhero and His Media (New York: Routledge, Chapman and Hall, 1991).
295. Most of these images can be found in Lassie Coloring Book (Racine, WI.: Whitman, 1962).
296. James R. Kincaid, Child Loving: The Erotic Child and Victorian Culture (New York: Routledge, 1992), p. 79.
297. Eric Knight, Lassie Come-Home (New York: Dell, 1940), i; cited hereafter by page number in the text.
298. Kete, Beast in the Boudoir, esp. pp. 39-55.
299. Harriet Ritvo argues that this shift reflected growing middle-class fantasies of upward mobility and class assimilation, as the lower orders mimicked the practices of those better off. Harriet Ritvo, The Animal Estate: The English and Other Creatures in the Victorian Age (Cambridge, MA: Harvard University Press, 1987), pp. 93-104.
300. Knight's writings helped to popularize the collie as the ideal pet for U.S. children. In 1944 there were fewer than 3,000 collies in the United States. Following the popularity of the book and the six MGM films that it spawned, sales skyrocketed, resulting in 18,400 registrations of purebred collies by 1949. See Susan M. Brown, " Forward: A Charismatic Collie and Her Fifty-Year Influence," in Susan M. Brown, ed., Lassie: A Collie and Her Influence (St. Louis: Dog Museum, 1993), p. 4.
301. Ritvo, Animal Estate, p. 89.
302. For an example of such a reading, see Emily D. Berkley, " Lassie and American Culture," in Brown, ed., Lassie: A Collie and Her Influence, pp. 6-17.
303. Background information on Eric Knight in this essay comes from Elizabeth Wasserman, " Eric Knight and Lassie Come Home," in Brown, ed., Lassie: A Collie and Her Influence, pp. 18-23.
304. Viviana A. Zelizer, Pricing the Priceless Child: The Changing Social Value of Children (New York: Basic Books, 1985).
305. Mary Lynn Stevens Heininger, " Children, Childhood, and Change in America, 1820-1920," in Mary Lynn Stevens Heininger et al., eds., A Century of Childhood, 1820-1920 (Rochester, NY: Margaret Woodbury Strong Museum, 1984), p. 31.
306. See Harriet Ritvo, " Barring the Cross: Miscegenation and Purity in Eighteenth-and Nineteenth-Century Britain," in Diana Fuss, ed., Human, All Too Human (New York: Routledge, 1996), pp. 37-58.
307. For the most part, as Harriet Ritvo notes, those distinctions between breeds were emptied of meaningful content (having everything to do with the sentimental value and physical beauty of dogs, and nothing to do with their functionality or adaptability). Ritvo, Animal Estate, pp. 104-15.
308. Kete, Beast in the Boudoir, p. 94.
309. Ace Collins, Lassie: A Dog's Life (New York: Cader, 1993), p. 94.
310. Richard Dyer, " Entertainment and Utopia," in Bill Nichols, ed., Movies and Methods, vol. 2 (Berkeley: University of California Press, 1985);
311. Fredric Jameson, " Reification and Utopia in Mass Culture," Social Text (Winter 1979): 130-48.
312. Sally Allen McNall, " American Children's Literature, 1880-Present," in Joseph M. Hawes and N. Ray Hiner, eds., American Childhood: A Research Guide and Historical Handbook (Westport, CT: Greenwood, 1985), p. 388.
313. Berkley, " Lassie and American Culture," p. 8.
314. Collins, A Dog's Life, 79.
315. Nina C. Leibman, The Living-Room Lectures: The Fifties' Family in Film and Television (Austin: University of Texas Press, 1995), p. 25.
316. Cyclops, quoted in David Zinman, Saturday Afternoon at the Bijou (New York: Castle Books, 1973), p. 473. Zinman offers a detailed discussion of the production of the films, as well as the casting and training of the collies that played Lassie over the years.
317. Elizabeth Segal, " 'As the Twig is Bent . . . ': Gender and Childhood Reading," in Elizabeth A. Flynn and Patrocinio P. Schweickart, eds., Gender and Reading: Essays on Readers, Texts, and Contexts (Baltimore: Johns Hopkins University Press, 1986), p. 171.
318. Jack London, The Call of the Wild (New York: Puffin, 1903), p. 120.
319. For a discussion of the sentimental tradition, see Jane Tompkins, " Sentimental Power: Uncle Tom's Cabin and the Politics of Literary History," in Robyn R. Warhol and Diane Price Herndl, eds., Feminisms: An Anthology of Literary Theory and Criticism (New Brunswick, NJ: Rutgers University Press, 1991), pp. 20-39.
320. Roger Hart, Children's Experience of Place (New York: John Wiley and Sons, 1979).
321. See also Bernard Mergen, Play and Playthings: A Reference Guide (Westport, CT: Greenwood, 1982).
322. See Gayle Kaye, " Lassie Collectibles," in Brown, ed., Lassie: A Collie and Her Influence, pp. 24-31.
323. For a fuller discussion of this tradition and its influence on 1950s television, see Henry Jenkins, " Dennis the Menace: The All American Handful," in Lynn Spigel and Michael Curtin, eds., The Revolution Wasn't Televised: Sixties Television and Social Conflict (New York: Routledge, 1997), pp. 119-38.
324. Newton Minow, " Is TV Cheating Our Children," Parents, February 1962, pp. 52-54, 116.
325. For a fuller discussion of the ways reformers constructed their cultural canons, see Lynn Spigel and Henry Jenkins, " Same Bat Channel, Different Bat Times: Mass Culture and Popular Memory," in Pearson and Uricchio, eds., The Many Lives of the Batman, pp. 117-48.
326. Nancy Larrick, A Parent's Guide to Children's Reading for Parents and Teachers of Boys and Girls under Thirteen (New York: Pocket Books, 1958). Sponsored by the National Book Committee, this guide is surprisingly sympathetic to television.
327. " The Mini-Wasteland," Newsweek, January 23, 1967, pp. 92-94.
328. " The Most Objectionable," Newsweek, July 30, 1956, p. 78.
329. Anna W. M. Wolf, " TV, Movies, Comics: Boon or Bane to Children?" Parents, April 1961, pp. 46-48.
330. Frank Orme, " TV for Children: What's Good? What's Bad?" Parents, February 1962, pp. 54ff.
331. " Time Out for Television," PTA, November 1967, p. 20.
332. Rudolf Dreikurs, Children: The Challenge (New York: Hawthorn, 1964), p. 153.
333. For more information on the Capra unit's influence on postwar children's culture, see Henry Jenkins, " 'No Matter How Small': The Democratic Imagination of Dr. Seuss," in Henry Jenkins, Tara McPherson, and Jane Shattuc, eds., Hop on Pop: The Pleasures and Politics of Popular Culture (Durham, NC: Duke University Press, 2003), pp. 187-208.
334. Susan Stewart, On Longing (Durham, NC: Duke University Press, 1993), 23.
335. Marjorie Garber, " Heavy Petting," in Fuss, ed., Human, All Too Human, pp. 11-36.
336. Dylan Loeb McLain, " Dogs and Cats with Chips on Their Shoulders," New York Times, January 22, 1996, p. D5.