By Linda S. Kauffman

ISBN-10: 0520210328

ISBN-13: 9780520210325

Linda S. Kauffman turns the pornography debate on its head with this audacious research of contemporary taboo-shattering fiction, movie, and function paintings. Investigating the position of myth in paintings, politics, and pop culture, she indicates how technological advances in drugs and technology (magnetic resonance imaging, pcs, and telecommunications) have profoundly altered our strategies of the human physique. our on-line world is generating new kinds of identification and subjectivity. The novelists, filmmakers, and performers in Bad ladies and unwell Boys are the interpreters of those courageous new worlds, cartographers who're busy mapping the fin-de-millennium atmosphere that already envelops us.
Bad women and ill Boys bargains an important and interesting travel of the present cultural panorama. Kauffman boldly connects the dots among the unconventional artists who shatter taboos and problem felony and aesthetic conventions. She hyperlinks writers like John Hawkes and Robert Coover to Kathy Acker and William Vollmann; filmmakers like Ngozi Onwurah and Isaac Julien to Brian De Palma and Gus Van Sant; and performers like Carolee Schneemann and Annie Sprinkle to the visible arts. Kauffman's energetic interviews with J. G. Ballard, David Cronenberg, Bob Flanagan, and Orlan upload a unprecedented size to her well timed and convincing argument.

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Extra info for Bad Girls and Sick Boys: Fantasies in Contemporary Art and Culture

Example text

13 Gothic rock retains melodic elements of the earlier goth sound, but the music is heavier, overlapping with metal and hard rock. Guitars and bass are used to create driving rhythms and the vocals are more primal and energetic. Elements of horror and themes that include ghostly sounds and the undead are also often woven into the goth rock or death rock sound. S. S. rock star Marilyn Manson performs at the Hallenstadion in Zurich, Switzerland, February 8, 2001. S. ”18 A few of the American goth bands that emerged in the late 1980s and early 1990s continued into the twenty-first century, including Black Tape for a Blue Girl and Faith and the Muse.

9. Max Wooldridge and Malcolm McLaren, Rock ’N’ Roll London (New York: Macmillan, 2002), 43–46. 10. Lauraine Leblanc, Pretty in Punk: Girls’ Gender Resistance in a Boys’ Subculture (New Brunswick, NJ: Rutgers University Press, 1999), 37–40. 11. Karen Kelly and Evelyn McDonnell, Stars Don’t Stand Still in the Sky: Music and Myth (New York: New York University Press, 1999), 80–85. 12. , 82–83. 13. Michael Bibby, “Atrocity Exhibitions: Joy Division, Factory Records, and Goth,” in Goth: Undead Subculture, ed.

Dave Thompson, Alternative Rock (Milwaukee, WI: Mel Bay, 2000), 66–67. Interview with Sam Rosenthal, March 9, 2010. Joseph A. Kotarba and Phillip Vannini, Understanding Society through Popular Music (New York: Taylor & Francis, 2008), 65. Carol Siegal, Goth’s Dark Empire (Bloomington: Indiana University Press, 2005), 31–32. Dunja Brill, Goth Culture: Gender, Sexuality and Style (New York: Berg, 2008), 3–4. org/faqs/ alt-gothic-faq/ (accessed March 26, 2010). Zafar Y. Ibrahim, Shared Psychosis (Lakewood, WA: Crispus Medical Press, 2003), 26–30.

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