1996.pornmovies

AfterwordCommonassumptionsabouttheworthandvalueof"high"and"low"culturesoftenrestrictavarietyofpopularformsfrombeingincludedinatraditionallyrathernarrowculturalcanon.
Intheprecedingchaptersofthisbook,Ihaveattemptedtodemonstratethatmanypopularculturalforms,oftencharacterizedbytheirapparentfailureto"standup"toconventionalcriticalandculturalanalysis,areneverthelessinter-esting,mainlyfortheircapacityfor"breakingdown"languageandmeaningintoinfinitelayersofdialogicstrata.
Thepleasurescontainedby"low"culturearewidelydiverging,buttheyarefullofcomedy,humor,andirony,suggestingthattheseformsareprofanelyproductiveanddeathless,infectedwiththespiritofprocessandinconclusiveness,andliabletobreakuptheotherwiseoftengrimatmosphereof"conventional"cultureandsociety.
Manyformsof"low"culture,asIhaveattemptedtoexplain,containacarnivalesquecreativityandvitalityfarfromfatalismandpessimism,anditisthisbasicforceofpleasurethatgivestheseculturalformstheirgreatpower,andaffirmsthewaystheylinktherealandthetextual,discourseanddesire,thespectacle,thegesture,andthebody.
"Low"cultureplaysoutthejunctureofthewordandtheworld,andinteractswithbothtotransformnotonlywordandworld,butalsoauthor,reader,consumer,spectator,andsubjectofdesire,whoareall,betweenthem,responsibleforthistransformation.
"Low"cultureaffirmstheprimalconnectionsbetweenfolkloreandtradition,betweenheroism,simplicity,andtimelessness,betweenOthernessanditschal-lengetoinstitutionalizedforms.
Italsoaffirmsthewaysinwhichplay,show,anddesirecandestroyepicdistanceandfreetheindividualconsciousnessfromcanonicalpracticesandtraditions.
Itseemscleartomethatmanyformsof"low"culturehavefrequentlybeenmisrepre-sentedandunderestimatedasproductsofgreatcomplexityofappeal.
Mymaininterestin"low"cultureinvolvesaconsiderationofhowsuchculturefunctionsasasourceofaestheticpleasure.
Nevertheless,duringtheprecedingchapters,Ihavefrequentlyreferredtovaluejudg-mentsthatinvolvemoralorideologicalcomponents.
Indeed,mostexistingcriticismon"low"cultureis,inonewayoranother,ideological—partlybecausesubjectivityisformedthroughtheentranceintolanguageandculture,andpartlybecauseitisimpossibletoseparatethepleasuresproducedbythesetextsfromthesocialandideologicaldeterminantsofpopularculture.
Moreover,thepleasuresproducedbyalotofthepopu-lartextsIrefertoeithercontain,oralludeto,aseriesofculturalorcoun-terculturalclass(andother)struggles,andtheirimplicationsofradicalsocialchangeoftenpresentachallengetoinstitutionalizedculturalforms.
Bakhtin,Barthes,andLacanmakethecasethatagivencultureorganizestheworldaccordingtogivenpractices,andthereforeconsid-ersdifferentaspectsoftheworldaspertinent.
Allthreetheoriststakeitforgrantedthattherelationshipbetweenlanguage,literature,culture,andsubjectivityisandalwayshasbeenambiguous.
Theyalsoendorsetheviewthatcultureendowstheworldwithmeaningandsignificancebyorganizingitintocategoriesandcircumstances—suchas"high"and"low"culture—whicharenot"naturally"present,butwhichrepresenttheinterests,values,andbehaviorsofdifferenthumancommunities.
Bakhtin,Barthes,andLacanacknowledgetheimportanceofpopularculturenotonlyasafruitfulareaofstudy,butalsoasanintrinsicpartofhumanlife.
Allthreetheoristsallowforthetypeofanalysisofpopulartextsthatconsidersthewaysinwhichtheirparticularsystemofformationspresentsanalternativeversionofwhatwehavecometorefertoas"culture.
"ManyoftheideasandtheoriesoutlinedbyBakhtin,Barthes,andLacanalsofigurewithinthekindofterraindescribedbypostmoderntheorists.
CriticslikeDavidHarvey,DickHebdige,andAndrewRoss,intheirworkonpopularculture,alsoaddressmanyoftheproblemsdescribedearlierbyBakhtin,Barthes,andLacan,andrecovermuchoftheterritoryalreadycoveredbythem.
Refusing,likeBakhtin,totakeeithertheauthorortheartifacttooseriously,postmoderntheoryreplacescultureasanobjectofcontemplationwithcultureasameansofcommunication.
Postmoderntheoryanalyzestheindependent,interdependentbattleandplayatdifferentlevelsandlayersofmodernculturalformsthat,likeBakhtin'stheoryofpolyglossia,acknowledgesineachtextavarietyofmeanings,interpretations,andsubtexts.
AswithLacan,postmoderntheory'sconcernwithideasaboutpossession,infestation,irruption,fusion,fission,andsoonultimatelyblursgenrebarriers,obliteratingtraditionaldistinctionsbetweenthecommercial140/afterwordandthepopular,betweentheconsumer-based,money-makingdesignsofmasscapitalistcultureandtheautonomous,noncommercialartifactsof"high"culture.
PostmoderntheoryalsosharesBarthes'sobsessionswiththeprocessofthetransactionitself,"trash"theoryand"low"culture.
Likecapitalism,postmodernartandliteraturereplacesthe"real"withatheoreticalrepresentationwhoseemphasisonsurfaceandpackagingisrelatedtothenotionof"newness.
"PostmodernartistsandwriterslikeAndyWarholandMarcelDuchamphave,likeRolandBarthes,shownagreatdealoffascinationwiththevastareaofcommer-cialnamingandlettering,andtheiconographyofthemarketplace.
Postmodernartandliteratureisbasednotonintellectualortheoreticalabstractionbut,liketheworkofBarthes,Bakhtin,andLacan,ontherediscoveryofaculture'sconnectiontotheconcrete,thefusionoftextandperformance,themergingofthetextualandthelived.
ThoughIhavebeenworkingbyaverydifferentroute,theconclu-sionIhavereachedinthisbookis,infact,quiteclosetotheworkofotherwritersonpopularculture,especiallythatofideologicaltheoristssuchasRachelBowlbyandMeaghanMorris.
Ibelievetherearearangeofdifferentkindsofresponsestopopularculturaltexts,rangingfromsuspicionanddismissal,tojoyanddelight,toanunrestrainedhedonism.
Themostfrequentconsumerresponse,however,seemstobeakindofdesire.
Thepleasuresofsexualandemotionalabandonsuggestedbypornmovies,horrorfilms,football,stylemagazines,andstoriesinthetabloidsarereplacedbytheshopper's"legitimate"(thatis,consumer)objectsofdesire,whichcanneverquitefillthisfundamentallack—asimultaneousarousalandfrustrationofdesirewhichoccursviatheprocessofcommodityfetishism.
Thischainofdesire/frustrationisunending.
Iftheseformsofpopularcultureeverreachedtheendsofthevariousdesirestheyintimateandenvisage,theywouldceasetoexist,sincedesirecannotexistwith-outlack,withoutagapbetweensatisfactionsought,andsatisfactionobtained.
Thisgapcanneverbeclosed,andthelackofsubjectivityofafinal,comfortingoblivioncanneverbereached.
Significantly,thisneedtoattainclosure,todiscoveranendtodesire,isanalogoustotheclassicLacanianscenarioofthesubject'sconstantdesiretohealthegapbetweentheSymbolicandImaginaryOrders,thedesireformergingorfusion.
Thesubject–spectatororconsumerofmodernpopularcultureissplit;theoriginalobjectofdesirehasbeenlost,andcanneverbereclaimed.
Instead,wehavelanguage,butlanguagecannotreplacerepresseddesire.
Instead,itbecomesasymboltousofwhatisnolongerpresent,andwhatcannolongerbefound.
afterword/141Allhumandesire,then,isafetishsubstitutionfortheillusionofa"realthing,"whateverthatmaybe,orhavebeen.
Thepleasuressuggestedbythescenarioscontainedinpopularculturaltextsare,intheend,nothingmorethanmystificationsandmisrecognitionsofwhatKajaSilvermanreferstoas"lostobjectsandmistakensubjects.
"Inevitably,inacommodifiedsociety,ourdesireswillbedisplacedtowardcommodities,sincethecommodityformistheonlywayofdealingwithdesirewithincapitalism.
Thesepopularculturalforms,Ibelieve,renderveryexplicitthepsychicstructuresofcapitalistsociety,andofdesireitself.
Sometimes,asinthecaseofpornmovies,thisinterminabledesireforclosuremaybethwartedbytheperversestructuresofthepopulartextitself,whichseemstoencodethemessagethattheendofalladultdesireisultimatelyunattainable,andthegapbetweenSymbolicandImaginaryOrderscanneverbeclosed.
Iwouldarguethatthistendencyispartofthepowercontainedbyeachofthesecommodifiedpopularculturalforms.
Moreover,allcontainaconstantpotentialforculturalcritiqueintheirdirectappealtotheinnerpsychicstructureofourcommodifieddesires—themselvespartoftheunconscious,itselfformulatedthroughourentryintoculture,andintolanguage.
TheformsofpopularcultureIhaveanalyzedinthisbookcanandindeeddoprovideacertainamountofjouissance.
Essentially,however,theattainmentofthemostheightenedformsofjouissanceinvolvesacomplete(andincompatible)lackofsubjectivity,whichistheendofallhumandesire.
Asitispreciselybecausethepleasuresofthesepopularculturalformsspeaktothisessentialhumanparadoxthatthemomentsofactualpleasuretheyrepresentcanbeattained—thoughalways,bytheirverynature,onlyfleetingly,forafewbriefmomentsofjoy.
142/afterwordNotesChapter1CarnivalandChronotope:BakhtinandStyleMagazines1.
Theauthorshipofseveralkeyworksisdisputed,andIreferinthischapteronlytothoseworkswhichincludeBakhtin'snameonthetitlepage.
2.
IntheirglossarytoTheDialogicImagination,MichaelHolquistandCarylEmersonnotethatBakhtinrendersbothpolyglossiaandheteroglossiawiththeRussianwordraznorecie,raznorecivost'.
3.
SeeMichaelHolquist'sreferencetoBakhtin's"DiscourseandtheNovel,"in"Introduction"toTheDialogicImagination,p.
xix,hereafterreferredtoasI.
4.
Forsomegoodexamplesofthistypeoflanguageinrecentliterarytheory,seeKrokerandCook.
5.
Suchareas,ofcourse,canbeseparatedonlyinsofarasBakhtin'stheoryofgenericwholespermits,sinceallborders,accordingtoBakhtin,havealreadybeencrossedandno"zone"iseverseparate.
6.
Infact,theseare"styles"ratherthan"genres.
"Bakhtindescribesthenovelasa"stylisticsofgenre"andcanneverreconciletheideaofgenrewiththeideaofstyle,redeeminggenreasatermfordescribing"finishedandresolvedwholes"andstyleasdesignatingthesyntacticandlexicalpatternsofidentifiablesocialvoices.
Chapter2JoyfulMayhem:BakhtinandFootballFans1.
Ihavefounditnecessaryinthischaptertoengageinamalegenderedpractice;eventhoughIwriteasawoman,Ihavedeliberatelyusedthemalepronounthroughout.
Chapter3Rumor,Gossip,andScandal:BarthesandTabloidRhetoric1.
Foranastuteexampleofthiskindofinterpretation,seeJeremySeabrook'sessay"AnatomyofaSexRomp"inRichardSheppard,NewWaysinGermanistick,NewYork:Berg,1990.
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154/workscitedIndexadvertising,xv,xxvi,xxvii,4,6,12,13,35,37,41,57,61,63,64,66avant-garde,xv,xx,xxvii,17,35,37Bakhtin,Mikhail,xxvii,xxviii,1–34,37,38,61,82,123,140,141;TheDialogicImagination,2,3,38;"DiscourseintheNovel,"2,3,6,9,11,19,26;"EpicandNovel,"2,12,17;"FormsofTimeandChronotopeintheNovel,"2,10,13,14,15;"FromthePrehistoryofNovelisticDiscourse,"11,12,17;ProblemsofDostoevsky'sPoetics,xxvii,2,23,25Barker,Martin,xxiv,107,108,126,130,132Barthes,Roland,xxvii,xxviii,35–56,57–80,82,110,121,123,140,141,143;CriticalEssays,36;CriticismandTruth,36;ElementsofSemiology,35,36,38;Image-Music-Text,37,48;jouissance,57,67,71–73,80,142;Mythologies,xxvii,35,37,39,40,63,64;ThePleasureoftheText,35,37,43,47,48,57–63,66,71;S/Z,35,37,47,57,58,61;WritingDegreeZero,35,54Baudrillard,Jean,xix,72,79Beast,The,101–104Benjamin,Walter,xviii,xix,29,59,62,67,73bricolage,xi,xxviiicarnival,carnivalesque,xxvii,1–3,6,10–20,22,23,27–32,34,Carra,Carlo,67,70Carroll,Noel,111,127Cendrars,Blaise,70,71chronotope,12,13Clover,Carol,J.
,111,112,113,116,121,122comics,xv,xviii,xxi,xxiv,6,107,108,112,121,129,130CoventGarden,57,69,73–80Creed,Barbara,111,113,118DawnoftheDead,69,124,133,135,136Debord,Guy,72,77Deleuze,Gilles,23democracy,xv,xvi,xviii,xixDerrida,Jacques,36dialogism,dialogic,2–4,6,9,10,14,16,18–20,24,25,139Eagleton,Terry,xviii,xix,10Eco,Umberto,xix,63encraticlanguage,57,63,64,66,67,80EroticOlympics,The,95–99Exorcist,The,124,130,131,132,133,136fashion,xi,xxii,xxvii,4–6,13,17,35,37,39,41football,xxvii,21–34,141formalism,post-formalism,xivFrankfurtSchool,the,xviiiFreud,Sigmund,18,32,64,81,82,86,87,91,92,97,103,108–124,131,134,135,137;"BeyondthePleasurePrinciple,"64,124;ThreeEssaysontheTheoryofSexuality,81,86,91,103;TheEgoandtheId,82;"OnFemaleSexuality,"87;"OnNarcissism";"ThePsychologicalConsequencesoftheAnatomicalDistinctionBetweentheSexes,"87;"OntheUncanny,"118,119,120,134Futurism,Futurists,57,62,64,65,66,70Greenberg,Clement,xiv,xv,xx,69Grixti,Joseph,116,118,132Harvey,David,62,63,140Hebdige,Dick,xxv,140Hirschkop,Ken,andDavidShepherd,3,6,9,13,14Hitchcock,Alfred,110,113,122;TheBirds,113;Psycho,110,113,119,128,131Holquist,Michael,3,143;"Introduction"toMikhailBakhtin,TheDialogicImagination,9,11,143horror,xvii,xxiv,xxvii,xxviii,107–138,141Internet,the,xvii,6King,Stephen,108,115,138kitsch,xxKristeva,Julia,17,113Lacan,Jacques,xxvii,xxviii,36,81–105;Ecrits,97,98,101,107,108,110,112,121–138,140,141;TheFourFundamentalConceptsofPsychoanalysis,81,82,121,122,137;themirrorphase,82,87,97,100,104,105,121,122,123,128,133Leavis,Q.
D.
,xv,xviLévi-Strauss,Claude,36,38,123LooseEndsII,99–101Malevich,Kasimir,70,71Marinetti,Filippo,62,63,64,65,66,68,70McLaren,Malcolm,15,16McLuhan,Marshall,xv,112modernism,modernist,30,62Modleski,Tania,xxiii,22,111,135,136Morris,Meaghan,xxiii,xxiv,69,71,72,141music,6,12,13,16,17,37NightoftheLivingDead,130,132,136Nietzsche,Friedrich,120,121novelization,2,4,11,24Orwell,George,xv,xvi"pluraltext,"the,37,57–63,66,71polyglossia,polyglot,1–6,9,10,14–20,23,29,37,38,140,141,143popart,62,65,66pornography,xvii,xxviii,47,51,53,83–105,110,111,112,114,116,120,121,127,128,129,130,132,133,141,142postmodern,postmodernism,xi,xv,xxv,xxvi,xxviii,6,12,60,62,63,72,140,141Prawer,S.
S.
,107,114punk,xxvii,14,16,30156/indexRaban,Jonathan,62,63,70,77rap,rapmusic,18,32romance,xxiii,84Saussure,Ferdinandde,xxviii,1,35,37,82,123semiotics,semiology,35,37,39,53,58SexPistols,the,14–16shopping,xiii,xxvii,xxviii,6,12,16,35,37,39,57–80soapopera,xxisports,xiii,xxii,xxviii,6,21–34,37,39,41,114structuralism,post-structuralism,xi,35,36,82stylemagazines,xi,xiii,xxvii,xxviii,1,6,9–20,62,141subculture,4,18,21–27,31–34,62surrealism,111tabloidnewspapers,xvii,xviii,xxvii,xxviii,35,42–56,130,141;TheNewsoftheWorld,44,46,47,49,50,51;TheSun,44,45,49,50–56;PageThreeGirl,51–56television,xvi,xvii,xxi,xxviii,6,12,22TexasChainsawMassacre,The,107,113,121,124,134,136Twitchell,James,109,118,119,120,132,133,138Videodrome,112,135Warhol,Andy,xxv,xxvi,65,85,120,141Wood,Robin,111,134index/157