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Frontmatter -- Contents -- Acknowledgments -- Introduction: Sex Seen: 1968 and Rise of "Public" Sex * -- Part I: Mainstream Media and the Sexual Revolution -- 1. Rate It X?: Hollywood Cinema and the End of the Production Code -- 2. Make Love, Not War: Jane Fonda Comes Home (1968-1978) -- 3. The New Sexual Culture of American Television in the 1970s -- Part II: Sex as Art -- 4. Prurient (Dis)Interest: The American Release and Reception of I Am Curious (Yellow) -- 5. Wet Dreams: Erotic Film Festivals of the Early 1970s and the Utopian Sexual Public Sphere -- 6. Let the Sweet Juices Flow: WR and Midnight Movie Culture -- Part III: Media at the Margins -- 7. 33 1/3 Sexual Revolutions per Minute -- 8. "I'll Take Sweden": The Shifting Discourse of the "Sexy Nation" in Sexploitation Films -- 9. Altered Sex: Satan, Acid, and the Erotic Threshold -- 10. The "Sexarama": Or Sex Education as an Environmental Multimedia Experience -- 11. San Francisco and the Politics of Hardcore -- 12. Beefcake to Hardcore: Gay Pornography and the Sexual Revolution -- Part V: Contending with the Sex Scene -- 13. Publicizing Sex through Consumer and Privacy Rights: How the American Civil Liberties Union Liberated Media in the 1960s -- 14. Critics and the Sex Scene -- 15. Porn Goes to College: American Universities, Their Students, and Pornography, 1968-1973 -- Bibliography -- Contributors -- Index

Frontmatter -- Contents -- Acknowledgments -- Porn Studies: Proliferating Pornographies On/Scene: An Introduction -- Part 1 Contemporary Pornographies -- How to Do Things with the Starr Report: Pornography, Performance, and the President's Penis -- Sex in the Suburban: Porn, Home Movies, and the Live Action Performance of Love in Pam and Tommy Lee: Hardcore and Uncensored -- Office Sluts and Rebel Flowers: The Pleasures of Japanese Pornographic Comics for Women -- Going On-line: Consuming Pornography in the Digital Era -- Part 2 Gay, Lesbian, and Homosocial Pornographies -- Homosociality in the Classical American Stag Film: Off-Screen, On-Screen -- The Cultural-Aesthetic Specificities of All-male Moving- Image Pornography -- What Do You Call a Lesbian with Long Fingers? The Development of Lesbian and Dyke Pornography -- The Gay Sex Clerk: Chuck Vincent's Straight Pornography -- Part 3 Pornography, Race, and Class -- The Resurrection of Brandon Lee: The Making of a Gay Asian American Porn Star -- Skin Flicks on the Racial Border: Pornography, Exploitation, and Interracial Lust -- Crackers and Whackers: The White Trashing of Porn -- Part 4 Soft Core, Hard Core, and the Pornographic Sublime -- Pinup: The American Secret Weapon in World War II -- Gauging a Revolution: 16 mm Film and the Rise of the Pornographic Feature -- Video Pornography, Visual Pleasure, and the Return of the Sublime -- Part 5 Pornography and/as Avant-Garde -- Andy Warhol's Blow Job: Toward the Recognition of a Pornographic Avant-garde -- Unbracketing Motion Study: Scott Stark's NOEMA -- Suggested Reading: An Annotated Bibliography -- Pornographic Film and Video: A Select List of Archives and Commercial Sites -- List of Contributors -- Index

Frontmatter -- Contents -- Acknowledgments -- I. introduction -- The Culture That Sticks to Your Skin: A Manifesto for a New Cultural Studies -- Defining Popular Culture -- II. self -- Daytime Utopias: If You Lived in Pine Valley, You'd Be Home -- Cardboard Patriarchy: Adult Baseball Card Collecting and the Nostalgia for a Presexual Past -- Virgins for Jesus: The Gender Politics of Therapeutic Christian Fundamentalist Media -- "Do We Look Like Ferengi Capitalists to You?" Star Trek's Klingons as Emergent Virtual American Ethnics -- The Empress's New Clothing? Public Intellectualism and Popular Culture -- "My Beautiful Wickedness": The Wizard of Oz as Lesbian Fantasy -- III. Maker -- "Ceci N'est Pas une Jeune Fille": Videocams, Representation, and "Othering" in the Worlds of Teenage Girls -- "No Matter How Small": The Democratic Imagination of Dr. Seuss -- An Auteur in the Age of the Internet: JMS, Babylon 5, and the Net -- "I'm a Loser Baby": Zines and the Creation of Underground Identity -- IV. Performance -- "Anyone Can Do It": Forging a Participatory Culture in Karaoke Bars -- Watching Wrestling / Writing Performance -- Mae West's Maids: Race, "Authenticity," and the Discourse of Camp -- "They Dig Her Message": Opera, Television, and the Black Diva -- How to Become a Camp Icon in Five Easy Lessons: Fetishism—and Tallulah Bankhead's Phallus -- V. Taste -- "It Will Get a Terrific Laugh": On the Problematic Pleasures and Politics of Holocaust Humor -- The Sound of Disaffection -- Corruption, Criminality, and the Nickelodeon -- "Racial Cross-Dressing" in the Jazz Age: Cultural Therapy and Its Discontents in Cabaret Nightlife -- The Invisible Burlesque Body of La Guardia's New York -- Quarantined! A Case Study of Boston's Combat Zone -- VI. Change -- On Thrifting -- Shopping Sense: Fanny Fern and Jennie June on Consumer Culture in the Nineteenth Century -- Navigating Myst-y Landscapes: Killer Applications and Hybrid Criticism -- The Rules of the Game: Evil Dead II . . . Meet Thy Doom -- Seeing in Black and White: Gender and Racial Visibility from Gone with the Wind to Scarlett -- VII. Home -- "The Last Truly British People You Will Ever Know": Skinheads, Pakis, and Morrissey -- Finding One's Way Home: I Dream of Jeannie and Diasporic Identity -- As Canadian as Possible . . . : Anglo-Canadian Popular Culture and the American Other -- Wheels of Fortune: Nation, Culture, and the Tour de France -- Narrativizing Cyber-Travel: CD-ROM Travel Games and the Art of Historical Recovery -- Hotting, Twocking, and Indigenous Shipping: A Vehicular Theory of Knowledge in Cultural Studies -- VIII. emotion -- "Ain't I de One Everybody Come to See?!" Popular Memories of Uncle Tom's Cabin -- Stress Management Ideology and the Other Spaces of Women's Power -- "Have You Seen This Child?" From Milk Carton to Mise-en-Abıˆme -- Introducing Horror -- About the Contributors -- Name Index