OPTI I M D D R: 1 THE PORN O RAPHER PO M OFF- b Mat u z Partyka . ., f m cr it rthcrn ti ti h lumbia, 2 11 TH T IVER ITY F RTH RN BRITI H ecember 2015 © Mateu z Partyka, 2015 F L MBIA Part ka ii AB TRA T amm th n tru ti n f ma ulinit and e ualit in Mi ha I Turner ' Til Pornograph r ·. Po m. ra mg nap r[i rmati e pl r tru tur h w pan pti and fluid h lik th famil 1 and athl ti ma culinit . ignifi ant att nti n i gi en t th intera ti n nt hi h t inquir int th nc pti n f g nd r id entity, it all help t hape en h g m m and L the pr tag ni t' p m graph ie erv thr ugh g nd r d namic . he in tabiliti e 111 identitarian pr e are lik wi e refl e t d in unreliable narra ti n, yclical tru cture , int IT ga ti e di ur e , and ne ting t chniqu e as the influence th a t f nanation. he the i c nclude that c cr i , c nfli ting, c mplicated im age of ma culinity pr paga tin g in ntemp rary culture are diffi ult t na iga te, fi gure . It att mpt t pr p e more nuan manhood that all w t tran cend y t m fp p cia ll y wi th ut effecti e atta hm ent d, multifari u , and dynami c interpretati n of cietal tere type and pre cription ari ing fr m current er and gend r. .. 11 Partyka iii T BLE OF 0 T T .. RA ................................................................................................................. ll T ............................................................................................ Ill M INTR Tl T ........................................................................................... i ......................................................................................................... 1 f-1 PT R 1 ................................................................................................................ 14 H PT R 2 ................................................................................................................ 7 H P R .............................................................................................................. ..69 ........................................................................................................... 90 ....................................................................................................... 90 111 Part ka i K OW I D ME r. Mar na R man t , ~ r h r uld lik t thank m in a multitud d tail d ~ dba k, and criti i m H 11 rand er in r. tan luabl and m t appre iated. I [! r th f wa lik t thank and . H r guidan r. Ja quelin el r ~ r their criti al ~ dba k thr ugh ut th pr ce . n a er nail upp rt . I uld al ten i l, I uld lik t thank m 1 mil and fri nd uld parti ularl lik t thank [t r th ir un ending rah m P arc , any M Kinn n, and J hn Harri ir c ntinu d m nt r hip . a tl , I ould like t th ank my partner arah avy, wh b re th brunt [m y fru trati n during the latter part f thi degr e. Th r ar myri ad t d [ ther indi idual wh de erve menti n, but littl e pace in which . The rea lit i that if 1 kn e had an influ n u during th c ur e f thi pr ~ect, y u und ubtedl y n m ; I h pe that y u will be c gni ant en ugh to recognize the nature and the extent of it. Thank you. IV P rt ka 1 I TROD The Pornograph r ·. Po m unkn n auth rit : h ith th pr t g m tan gm u ld TION h n int rr gati n. It b th int rr ga t r find mi ha ]' m id clear that thi int rr gati n will en the change in m i hae l' tc.) and hi m1 ill[! u thi c nte t. I e amm th fee dba k I p paradi gm f th e c gnitive pr r I ing n recent n the hange in hi gniti v n 1r nment. M re pecifi all , I ill ntinu e until ati fact graphi e , dr am n (i.e., hi ti n fr man an t tim n within a hi an n the r lati n, hip bet M anal qu u a ill b r [! rred t a m1 ha 1 fr m h rea Ct r pr yclicall rep titi nng e ualit and hi gend er id entity within gniti e appr a he t narrat I gy a the broade t term , thi the r ti al paradi gm di tingui h n eptu ali zed by th tag by ri Marg lin . '' In fin} rrn ati n intake ( en ation-attenti n-percepti n) , enc ding r int mal repre entati n, torag , retri eva l, and tran form ati on or furth er pr c ing, leading ultimat ly t me ymboli c or behav i ural output" (62). By xamining thi inD rmati n I p, I will h w how The Pornographer 's Poem with it u e f poioumena and a a n ted kun tlerr man, demon trate the c mpl ex relationship of exchange betw een li fe and art, thereby giving vi ibility to th e devel pm ent of mi chae l's gend r identity. The benefit of thi paradi gm i that it can map flu ctu ating gend er id entitie a they change in relati on t an ptic tructure (family, chool and port ) wi thin their socio-cultural nvironment. 1 I wi ll refer to the pr tagonist as mi chae l (wit h a I wercase ' m') in ord r to rel1eve the ted1um of\Hlttn g and reading ' the pr tago ni st' over and over. The I we rca e letter serve. to distinguish between M1 chae l Turn r and the character. Part ka 2 In m lit ratur r 1 [! u n th r cent pan i 11 f ultural tudi hifted a ad mi inq uir a a fr m traditi nal ar a lik p rn graph . hi p traditi nal n and 1 ultur , whi h fa ilitat 11tati 11 t n n- tm d mi t er ard u lit in d attitud a ad mia ' g z w rd th e int untraditi nal t lik th human b d . If f rth agree cial alu e id ntiti al be n them - th n the per[! nnance b twe n hi gh ha in lud ed m ri a and ha dire ted ari ty f ultural in ith ranee nt ergu n that p rn graphy f indi idu al in a gr up and then tru ture - makin g i ibl th ac tion pl acing i n f b rd rlin a m re in lu i e ultural anal in rea ingl r la hi h ha f iall y c n tru ct d gend r me i ibl e and u ceptibl e t analy i within p rn graphy. In rd er to be abl e to uffi cientl y d a! with th a t ra nge f p e r ~ nnati e gend er id entiti c nceptualized b Judith Butler, c nt mp rary ,a h Jar hip aim t expand publi c percepti on and reception of porn graphy by addre ing t xt that deviate fr m the kit ch-like producti n of the P m Indu try . H re, th e redirecti n f criti ca l attenti n to ubver ive and tran gre e tex t will help t map out th " land cape" of e i tent g nd er id entiti e and exualitie . Hence, the relati onship betwee n mi chae l' xpre ion and the ava il abl mod l of masculinity will be of central [! cu through ut thi projec t. In The Sadeia n T11oman ( 1979), Ange la arte r tate th at " e ual re lati n betwee n men and women alway render explicit the nature of social r lati n in th they take place and, if de cribed explicitl y, will form a critique of tho e relati n , even if that is not and never ha been th e intenti on of th e porn ograph er" (2 0). In The Pornographer 's Poem thi inter ecti on of exual and ocial relati n occur within a nanative tha t combine prose with creenp lay (a w 11 a ther formal genre like p try and the epi t lary novel. Party a h bri !age f naiTati gend r n tru ti n patiall and t mp rall alu f hi te hniqu In th intr du ti n t th ne mak m i hae l' fra gm nt d and hifting e p ri n [I und i ible a h tru ggl [ again t th h g m nic d j umal Porn tudi . , e na t d and lari a mith charact ri z th di ciplinary n gm, e are n tint re t d in a umpti n ab ut p 111 a enti all rk that i ither antag m tic r r n-upting, lib rat ry, ub ppre , mp w ring, harm ful r da nger u " (4 ). an e nti ali m tw d and lebrat ry; 111 mith ar adamant th at r alu e lad n c nclu i n ar unpr du cti ve appr ache t 1 111 graphy. While p 111 graph ha b n and till ca n be qu ite i lent, the breadth fit va ri ety i uch that o erarching Iaim and generali za ti n ab ut the nature f pom graph y d littl e t add t it re arch. In additi n, the practi e and pr ducti n f th e indu try have recentl y begun to di ver ify, and the pr ducti n, r cepti n and di tributi n f p rn graph y have bee me increa ingly decentrali zed, du in part t the d el pment f techn I gie th at put pr ducti on (audi /vi ual recording device ) and di tributi n (the intemet) into th e hand of new demographic gr up . A a re ult, thi decentralizati on of pr ducti on and di tributi n ha a! o made outl ying repre entations of ex uality vi ible. Thu , we mu t ackn wl dge th e di integrati on of the Porn lndu try' mon poly and h mogeneity. Yet, the ex i tence of violence in po111ography definjtely m rit acknow ledgement; however, the compl exity of thi violence cannot be overlooked. Quite often violence goe so lely interpreted a " rea l," and b cau e f thi , the fi ctional el ment of pornography a a literary genre often go unacknowledged. What i probl ematic ab ut thi p r p tive i that it ignores th emi otic difference that ari e when th exual a t i framed within fanta y. In hi P rtyka 4 him pl a ur , h r th pl a ur d n ma that i agr d up n in th hi t' pi a ure tn pam nd u p n i n t rd Jr eleuze a e infli ct d up n him lf m rna chi m t fanta int 1-preted ith ut und r tanding it m p rn graphi c i lcnc . hi nt tu al p iti n that th t "th n n 1 ng r be ca ll ed adi ti n t e i tin p rn graphy, but ra th er that simulat >d d related t th ntra t i 11i ul ar type f u p n i n" ( 1 7). We an ab ut fanta hi ti in parabl fr mit int rpr tati n. d fr m th inc it i m rna [ fanta 1 uz highlight the imp rtan ill kMa ithin it t nd th e th n tt n ay that len e ann t be wn emi ti y tcm. ide from the c mpli ati n that ari e when ne li cu e ma ochi ti c de ire, vi lcnc i al complica ted by tru tural di ffe r n e . r a nu anced appr ach t vi Jence, one can loo k t Ia oj Zi ek' lence i und er to d t ex i tin a triumviral v tru ture: ubj ecti n Viol ,n ·, in whi ch (per nal) , bj ecti e (id e I gical) and y temi c (D rmaJ). Ziz k argue that ur c nt mp rary cia! attitude i ob e ed with th e ubjecti ve manife tation of vi 1 nee with ut ufficientl y recognizing the bjecti ve and y temic correlative . A more refin d und r tanding of violence mu t verc me the impul i ve compas ionate appeal t ubj ective iolence, and mu t con id r the way in whi h ubjecti ve violence i pre ented as a chall enge to th " non- iolent ze ro leve l" of obj ecti ve viol nee, which i implicit and invi ibl in our ymbolic and y temi c io-cultural organizati on. In other words, a point of view that account fo r ubj cti ve act of viol ence by exclusively a cribing them to g nder power tructure ma y overlook the complex inter ecti on of uppl em ntal id eological and y temi c p wer relations (like reli giou , racial and economi one ), ther by di viding and i olating vi lence in a ri gid y t m of power r lation . Tim , in Part ka my appr a h I ha di pla d g nd r fr mit it a and attempt d t n d am ng r tri ti n . hi appr a h n number m 1 gi al and y tcmic ar n ptualiza ti n [ g nd er a ju t n ting paradi gm m a nt tu al en ir nm nt thr ugh ur . R.W . th p tenti al t re M a ulin ili ith per nal, id itat c n tru ti n [ id ntit p iti n a a d t tmini ti fa t r [ i 1 n fa hi h th e nn 11 d fin e thi a "a i tu ati nal appr a h," wh i h n il e th "di ur tv and tru tural appr a h t rn a ulinit " ). fth m t imp rta nt it deb m g niza ti n m r h Jar hip nth nt e r build Ma. ulinitie. ( 19 0) . c era! f the ia l [[ [ ynn c w rk includ R. W. n tru ti n [ ma culinity and ga l' low Mo tion: han in nn II ' Mascultn iti ' S (2 0 5), dd W. Ree r' Mascu!tnitie: in Tlz )01y: An l ntrodu ·tion (2 10) and Mi hae l Kimm el' Ma nh ood in Am >ri a (20 12) . addre th e pr blemati nature f approachin g rna culinity a a h m g n u c n tructi n. hey chall nge the id a th at rn a culinity ca n be bl ank ted under an overarching definiti n and in t ad p int t the changing fonn [ hegemonic rn a culinity again t which all rna cul initie are mea ured. The e tudi e id enti fy a complex int raction of cia! and cultural pr jecti on of rn a culinity; however, the application of the e approache to scholar hip on p mograph y i till quite limited. Ma nh ood in America by Kimmel i a hi tori cal account f the development of hetero- normative manhood in Ametica. It begin t trace the fl nn f ntemporary rn a culi ni ty from when the elf-made man overcame the genteel patriarch and the hero ic arti an a the dominant form of rna culinity in the eighteenth century. Kin1111 el characterize rna culinity through elf-contro l, exclu ion or e cape, and proceed t e pi re the ex tent to which thi ideal ha been changed, chall enged and u tained through ut hi tory. Kimmel claim that a Partyka unt tw hi t ri : the hi t ry f the hanging id al ' hi t ry fmanh mpeting that ith it" ( ). Thi nf1i f ma culiniti at a nati nal larg that th nu anc f r gi nal ma culiniti f ma ulinit and th parall 1 and appr a h i pr du ti m b au it h rp rat d int a grand r naJTati e an w rk that deal th hi h ub ume ith r gi nal ma uliniti p ifi ity int g nerality. h re[i re, mu t uppl em nt Kimm I' work with 111 re ituational tudie in rd r t pr erve it r gi nal p r pccti e nd r changing idea l er i n f ma ulinit are unt nd th parall el and c mp ting ver i n that c -e i t with it" (4). In t r111 f 111 a ulinity and p rn graph , Jen n ,ettin .f(" Porn o raphy and th e End of Ma. culinity (2007) att mpt t criti cize th relati n hip between h gemomc 111a culinit and it repr entati on. I I w along with r, Jen en' dedi cati n t ndrea Ow rkin , wh ath rine McKinnon led the anti -porn graph y 111 v 111 nt fth e 90 ' P m-wa r , i indicati ve of the id eo! gical appr ach whi ch perm ea te it: th at pornography i harmful to women. Whil e J en end impl y attempt to u e an appr ach that expl ore not nl y th e text but it production and it recepti on a well , th e maj rity of th book reli e on per onal anecdote and evid ence from peopl e who have been negati vely affected by porn graphy without supplementing thi with po itive anecdote . There i an ab ence of a tro ng conceptual framework and Jen e d e n t addre th multifari ou ne of pornographic representation ; for example, little attenti on i paid to queer tudi e and L BQT exualitie . nsidering the book wa publi hed in 2007, it doe not tak the proliferati n of pornographic di cour e or gender di c ur e (due in large part t int met techn l gie ) into con id eration and thu limit it elf to a m ral condemnati on of a genre in tead of providing Partyka 7 fth pl itati n that an ur b hind th ntuall find th ap g at that h ltimat ly, J n n e rna ulinit . He unreali ti all ln rd er t e pand m di diff~ r n b tw en · 2), t fr m th r f humanit hi ch di r n rmati e len , 1 u e ual d ir by m tim th at he att mpt '' t co nfr nt and r chall enge the dominance f heter n rma ti outlin · ayp rn ' · lib ratin g p n a ri gid ib iliti indu try and d appr 1 ri ate ind a r ate ut pi a of e ual abund anc and appli e itt u h de ire and th o erar hin g d minant h focu d t di p rn · and ' !J eter p rn .' F j William · argum nt th at p m graph ' a porn · at th king £1 r: p rn gr phy and u i n f ma ulinity b ' B n f Pa. sion. (2 draw n Fr d anal yzing th le en f rna ulinit I emininit in fa a a al that f main tr amp m graphy. ne e ual e lve th c nni t betwee n tern " (95) . Hi appr ach p m graphi c repre entati n and attempt t . I Vv ill pur ue a imil ar m th od; h wever, with ual ri entati n in fav ur fa liding ca le f ex ual prac ti ce and de ir Mi cha I Bader· Ma le Sexuality (2009) ali gn it e lf with nn e ll' approach by di cu ing ex uality th ro ugh a co nte tual imperati ve . H moment why th e li ghte t bru h of an earl be by a lover' lip itu ati onal ay ·" n id r fo r a an b tre mend ou ly exci ting while direct genital contact during a medical exam leave u co ld . The di fference lie in the meaning of the event , and m aning is c n true ted by our mind , not our erogen u zone " (Bader 4). ne of th e m t produ cti ve a p ct of Bader' tud y i th at it a im t "pre ent a new theory of male exuality that will ca ll into qu e ti on all of th tereotypes, caricature , and 'comm n- en e' a umpti on th at we a ll hold about the er ti c Iive f men toda;" ( 1-2) . Partyka n th r P rn graphy: amp l fthi ituati na l app r ach i " The ' W rid' fA ll -Ma l n the Pu li Pia ran nati nali m" 2 0 ntributi n thi fM b Ri h rti le mak in g- Image nt and in th ngel Re ti ne f the m i it r J ti n f taking at fa alu e th repr regi nal ultur . It a k n tju th th tran nati nal p rn graphi th ir de ire . h a th at term like c herenc in a tran nati nal c nte t, e 1 ciall y ince in th Feje · t rm ) a t f di tingui h them elv ntati n und th m el fth lab I · 1"-male· i indi ca ti e fth e ' a porn ' (to u t int r ting h th ' r al. ' Jt a k h w th p rn graphi c fail t appr tran nati nal r pr ra f P rnographi nit d tat a I th eir a number f n tab I n t ga but referred t a ' gay ~ r pay ' ( 111 ). Thi arti cle p int t the imp Jia n f tud ing and acknowledging the imaginati ve a pect f thi pur uit. ualiti in tenn f their co ntex t , My meth d l gy predomin antl y reli e on p t tru cturalliterary anaJy i ; h wever, there are e eral non-literary th ri t who in[! rm my appr ach and who require menti n. Fir t, Butl er' gend r the ry argue [! r the denaturali za ti on f th e binary ppo iti n between rna culinity and femininity, wherein gend er i not co ntingent on th e biological/phy i I gical di tinction between male or female but n the perfonnanc of ciall y con tructed act : The ubj ect i not determined by the rul e through which it i generat d becau e ignification i not a foundin g act, but rather a regulat d proce of repetiti on that both concea l it elf and enforces it rul es precisely thr ugh the producti on of sub tantializing ef[i ct . ( 145) Ma culinity and femininity are thu reiterated and engrained in cial interaction to the p int that they e m innat or natural. Thi de-empha is on naturaliz d model of gender i Partyka t und r tanding mi ha I' r imp rati tan e, 1 f rna ulinit , b au an alternati em d hi h an b it c nili [ n a th p rfl rman i th the a f hi p t d n nn iet . ft n, r earch n gend er t nd t nilat th p rfl rman e [ g nd r p r£ 1111an f e ualit . Whil ignifi ant n rmalizati r1ain ualiti e ithin Rubin ' Thin kin • (1 2) t infl nn m di " harm d · ir le'· will b d em d a ceptabl b heter n nnati iety erlap b t e n the t d rtain gend r p rfl rman ur, du t the , I will r ly n ciet ayl u i n. H r c n ptualizati n f th f parti ul ar int r t. Rubin arg ue th at certain ur ith th ual rra ti e are he e tend t be m n gam u pr crea ti ve practi e between imil arl y aged individual . Rubin al argue that ur e ual negati it tend t re ult in th ad pti n fa hard and fa t lin e between what accepted and what i n t. The II ar i that hifting ' th e lin e· t ace mm date ne bad type of exuality will r ult in other bad type making th ir way over. Rubin · hi erarchy i invaluabl for my di cu ion of mi chael· tru ggle aga in t hegemoni c ma culinity and hi rejection of heteron nnativity. Next, I draw on Franc rgu on· Pornography, The Theory (2004). pecifi ca ll y, I borrow hi s definition of pornography as being an e enti all y pan pti c structure. "Th visibility of p mography i thu important not becau e it invo lve a tacit claim that vi ual imagery ha an unu sual immediacy by compari n wi th other r pr entational med ia, but rather becau e of it obviou orientati n toward viewer and th eir eva luation . It empha ize individual va lue a it i a igned , that is, rather than an ti on of intrin ic worth[ ... ] r a notion of self-worth [ . .. ]" (3 7). W rkin g fr m thi per pective, I wi ll analyz orne of the m re traditional pan pticon like th family unit, the cho 1 y tem, and th port team . Partyka 10 Butl r' ateg rizati n f g nd r 1 gend r be me highlight d and imp rtant t di em th a f ben fit a th a ti t up [I r aluati n und r the e tru ture . H we er, it i hi h th n 111 n tru cti n f id ntity and 1 a t a it tru ture with th r ad r parti ipating in th e a 1gnm nt f alu hu , it i 1mp th rmati it tructure gitimize a mpul h w ach f ia it wn parti cular em1 ti y tern . I al u urr n t app r a h B wlb y and Mar tn g nd er thr ugh p ifi charac t r , t tta hment he ry, a riginally pr paga t d y J hn anal z th [I rmati n f m i ha I· id entity and ial ircle , and in tituti n within th e pan pti cal, c nceptual framew rk . The ba ic a umpti n here i th at "a child will wand er between h r e ure ba di tre h n h r attachment tern i ar u ed and will e pl r th w rid if n t d'' ( m w rth and Bell t al. qtd . in ro mann 311 ). The e r Je are examm d with re pect to the culturall y pecific gend ered di vi ion f th e n ve l' ttin g: th e m th er a the ecurity attachm nt fi gure and the fath er a thee pi rati e attachm ent fi gure. the role by mi cha 1 and hi parent i eviati n from f pecific note. In ord er to effecti vely analyze th e non-conformity of th e protago ni t' gend er p rformance, I fir t id entify the nature of the hegemonic rn a culinity again t which he can react. In doing thi , I draw on R.W . onnell' " Hege moni Ma ulinity: Rethinkin g th e oncept" and Masculinities for the cone pt f multipl e ma ulinitie . In th e e tudi e , onnell defend the cone pt of hegemoni c rna culinity from a variety of cri ti ci m . Wha t i particularl y u eful about her approach i it compatibility with the theorie of Butler and erguson. ne implication of the tem1 ' hegemoni c rna culinity' i th e ackno v led gem nt of multiple types f rna culinity which refl ct Butl er' rej ct ion f natu ra liz d gend er Partyka 11 di tin ti n and up rt n ti n al rg u lend it elf t n p rfi nnati ,I aluable ' r[i 1mati nn II I t db d minant fi rm an hi ft. T hi hang i a at n ran th argu rn fm th t thi h g rn n f multipl g nd er r le cr ate a p int f h affi g nd rid ntiti n ' id a ab ut th utilitarian r le n f th at ridity in h n ti n f h gem n y f aluati n . n ' th nng ulinit whi h uppre e i n t ab Jut . hi h h g m ni c rna n w ithin h eg m n y ch ang 1 p unt d G r in F rgu y fa r w h n he tat th r h interacti n ulinity i till ibl and p wer th at n w n truc t d and ld are abl e t adapt. T hu , erg u account fi r th e chang impli ci t in hcg m n a well. ing th i fram w rk , I can an alyz pan pti tru cture are abl t be n rn i hae l' g nd er p rfo rm ance in r lati n t th h gem n y f heter -n rm ati v rn a c ulinity and th ocial m ili u in w hi h it p ra te at th e ubjective, Within the e le bje ti e and y temi c level 1 , I wi ll utili ze R la nd Ba rth e · th e ri e in l ma e/Music/ Te 1 ( 1977 ) to a na lyze th e int rpretati f rni hae l' film . pec ifi ca ll y I w ill re fc r t th e dea th of th e autho r, th m ode111 cript r and the w ti terl y/read rly tex t. In a henn e ne uti c en e, mi chael take a back ea t a th e m odem criptor - a ne w ho i born w ith th e tex t and does not con titute it. Hence, hi film rec ive a numb er of di ffe rent and o m tim e conflicting interpr tati on . Y et, on a per onal leveL mi c hae l' inte nti on are till re levan t to hi developm ent in r gard to rn a culinity, xu ality and hi co ping trategie . Th interplay between the e two p aradi gm s w ill be ex l red . Since th e novel op erate w ithin a num ber of nested n an ative , I have utili zed nana to logi ts li ke Bri an Richard son , ri M argo lin, Richard vera! errig and Wo lf chmid to guid e m y di cu ion f how nan ative it e lf i a haping and on tricting panopti tructure. I have also expl red th e relati on hip between mi chae l' p y h I gica l tate and th tr Part ka 12 c rr p n ing narrati l ha ra mg n n tru t d my p endi Po m ( narrati tru tur th n ituat b tw en t hmid ' diagram f n diagram t r pr ent th n rr ti e lc ). Th diagram h lp fth n 1and pr th pnma1 narr ti e di tin t and M fir t h pt r larif th mpl f Th PornograJ her 's itie f th n id e a p int fr .G rene thr ugh ut m th r th interr gati n (within 1 , 111 e re npl ay di al gue) mp ting n JTati e m d : m1 ha I' and th auth rit ' . ualit and g nd r ith in th in tituti n [the famil y unit. I e amin mi ha I' atta hm nt t famil y member they pre crib . mmuni ati n I nd hi rea ti n t the gcnd r r le maj r p int f II u 'v\ ill b mi chae l' abilit r inability t II nn h althy atta hm ent in li ght fa r pea ted u cc 1 n f ub titut . r m th r , I e pl re mi cha I' art-a -bee ming b e amining th de el pm nt f hi producti n in a eri al mann er. ft r all, it i thr ugh the pr du ti n of hi film that mi chael c me t rec gniz and con titute hi percepti n of famili al auth rity, gend er r le and ex uality. Having begun to build an id entity within th fa mil y tructure, the ne t bi gge t change in mi chae l' ocial life occur when he begin to attend cho 1. hapter 2 examin e th influence of the ch ol y tern n hi id entity and culminate in an analy i of hi cho themed pornographi e . The character mi chael i mo t attached to are given pccial attenti on. I expl ore th e extent of th eir mentor hip in rega rd to mi chae l' ability to think criti all y and ex pres himself adequately. Attention is al o paid t the hi rarchi ca l nature of the e relationship and h w they influ ence hi perception of peer , adult and authority figure more generall y. hapter 3 Ii cuse n the influence f port and athl eti c on rna cul inity. Interestingly enough, the novel d e not actually contain any cene in which p rt are Partyka 1 ing p1a d. A a r u1t I m re br adJ haping f rna u1in tyJ . l b gin with an th r i u hi pe r · h w r, thi tim , I £1 and tn mp titi n. , th u rr 1 mpetiti n and h g m ny in the n f mi ha 1' int ra ti n with n the hi rar h nding p m graphi any £1 nnaJ p 11 acti iti e , c mpetiti en tran p ed nt hi p m graphi e . f pl r th r 1 ithin th d mam f fi r thi a a maJ r hara t ri ti ti n a1 rt mit p rtraying f p rt a ti iti c i Partyka 14 H PT R 1 Par nt Fa th ,r f hall nging pla p n tud ing th imp rtan r lati n hip Karin hall ng th hild. mann t 1. rgu that " in m mp t n 1e t th ir indi idu al ma ul in d i u i n fi c u e n the a b en ~ 111 hild -fath r atta h1n nt t ulture , fath r ar p rc i r ad ptati n t n V\ I m nt ., ( 1 ). ecau e thi , a ignifi t f th ir ultur a w 11 a nt p rti n fm y r m i ha I" fa ther and th c n·e p nding impli ca ti n . Fir t, hi ab n e ignifi anti impa t mi hae l" p ro mann t al. argu , father typ ica ll y rv a h I g1 al d ntral pi rati el pment be au e, a atta hment fi gur maJ r a pect of th e role f the father a an attachm nt fi gure mi ght be t pr vid ecurity thr ugh en iti e and chall enging upp rt a a c mpani n when th e child ' e pi rat ry y t m i ar u d, ther by c mpl ementing th ecur -ba e-r le f the m th er a an attachment fi gure" (3 11 ). hu micha el' abilit to urely and co mfortabl y e pi re out ide of hi comfort zone i und ennined and he develop a elf-exi ling behavi ur pattern . tabl y, ro mann point out that thi gend er d divi i n of attachm nt r le ha more to do with conventi nal practi ce than with any gend er e enti ali m: Thi viewpoint doe n t imply that both parent could n t erve both r le a in fact they often do. Howcv r, thi per pective n parental r 1 doe empha ize the two different end of the attachment-e pi rati on balance in hildr n' be hav i ur when rna tering their developmental tasks. (3 11) Partyka 15 hi appr a hi parti u1arl u efu l b au r 1e with ut di mi ing th mi ha 1 i rai it d natura liz g nd red parental attachm nt f th g nd r n rm und r whi h ial and ultural realitie d. I thinkm m thr b au a kn her father di d n a a' bd girl ' h n h a alv. a ab ut u . I think th at· vv h Hence, mi ha I' hildh a un g r. ut nl y a ten. What 1 mean by that i th re wa an a umpti n ba k then that th ab en I think m m th r hn h [a man ar fi ghtin g th at. und th h u m ant tr ubl e. nd he didn ' t vva nt p opl e thinkin g th at he 'v\en t n all th o da te . h a ag d m m. (46) d i large! chara teriz d b hi moth r' het r n rmati ve id a [ what a health fami1 and a tr ng male r le m del 1 k like. h n el fir t menti on m i ha I' ra th er of him (1 2) . h rea h n a re nt ful michael et fi re t ph n ~ r hi rath er· ab enc ar n t r vea led , but michael mak a p int of enforcing that he g t ki cked ut and did n t j ust leave. The fac t that mi chael d tr y th picture , howev r, 1 n ugh to indica te that he i up t: nd it' funn - you know, 1 oking back - h w I rem mber weighin g th he o obviou ly ch e t e ph to ave again t memori e that I, at th e time, wa trying t forget. Ye , I r member fee ling pretty adamant ab ut ome of tho e photo . yo u know 'v\ hat J did ? I too k all th ph oto J didn't like and I burn ed th em. J r member thinkin g: he' ll never noti ce . ( 12) In di scussing I 0 yea r old ' reaction to eparation from their parent , ro smann ay that "A child 's reported attac hment behav i ur trategy wa cia ifl ed ecure if d i tre expre ed openly t wa rd th e par nt wa wa r oth er attac hm nt fig ure and their com~ rt r help ought and accepted" (3 18). mi chael' r ac ti on i more repr enta tive of an in ur 6 Partyka 1 ar ld wh r ' nd t p1 tur f e arati n fr m par nt in an em ti nally ( 22) . H n , mi hael ' a ti n d m n trat b th hi 1n urit t ard hi latile way parati n fr m hi fath rand an arr t d m hi fath r i n t th r t pr er thi r 1e t th m ti nall turbul nt pi find e pJ rat di id up1 rt and in hi m ther i m1 hac! ha diffi ulty adapting t pl f hi th ne ur e (furth r t hi regard t nd am pl rati 1th ugh mi ha el r Jati n hip thr ugh th r char t r , all [ th m ar limited in c pc. P nny pr e amp! de id 111 th r· channel hi fc ling int a c n tru ti c ) and etti help mi chael cxpl r ( p iall y in e uality) ut id e f hi c m[i rt z ne; h we er, what i imp Iiant here i that ut n thi upp rt fr m hi fa mil . In t ad he learn t deal with itu ati n thr ugh e api m and a i n, which he I arn fr m hi fa ther and at lea t partl y, fr m hi moth r. Thi kind f capi t, avoid ant behaviour i what Mi chael Kimm el cit three reoccurring th me a one f f rna ulin b havi ur (6) - the th er two bein g elf-c ntr I and exclusion - and thi defence 111 chani 111 eventuall y co ntrib ut to 111i hae l' inability to di ve t from the h gem nic rna culinity of character lik the pimp, Flynn. Mother A noted before, michael' mother find it di ffi cult t imagine a healthy fam il y without a strong father head, due in part to the large role of ocial expectation . Like mi chael, she al o grew up without a trong father fi gure (feedback 1 p ). Henc , he i extremely up et when mi chael bum th 1 h to and era e the e phy ica l tra e of hi fath r from the famil y record . Thi is a po e iv act, in whi ch he uper de his own de ire (to r Party a 17 m li all Ja h ut at hi fath r) n t puni h him b cau he r r ther ' de ir gmz that micha 1 i D ling ab ut hi fath r. In t d h addre th d tru ti m th d h u k at th ph t ). Y t, he d im 1 tr ing t r hi nilicted mpa i n and und r tanding. h tri t pr t hi D ling : Wh n h return ed he t ld m nat ut th at I a n ' t g in g t b puni hed, and that he und er t d h w I[! It b ut thing but that nd th n lying ab ut it, and that ju t beca u an I ha e th e right t tak a a at mething. h al aid th at th ere and that a I g t ld r the e e mpl till n e cu D r urning her I ma n t want t m b d uld b many m re e amp! k at · ri ght t k of thi in life, w uld be ome m re and m re c mpli ca t d, and that I h uld try t keep an p n mind , and that th e itu ati on can u uall y be re I ed by talking about them, and that c rtain ituati n that begin a nega ti ve ften get turned int omething p iti e. (1 5) he teache him ab ut c n or hip by chall enging hi deci i n t impo e hi interpretati n f event over ther '. h a! o make him think about how wner hip work , ince the ph to did not belong to him. Th e le n are arguabl y the mo t important one learnt fr m hi mother. he recognizes that the probl em i in the method f m i hae l' ex pre i n and not in the emotion them elve ; however, he doe not addre s or expl ore the feeling with him any further. he doe not help him to re olve them by expl ring th m. By habit, he provide the secure ba e attachment, but her ability to fulfil his need for an explorative outlet i lacking. Yet, mi chae l' moth er work hard to provide a compl et famil y unit :D r her hildr n, as it is imagined through heterononnati ve ocial xpectation . he g e on num rou date in order to find a urrogate father fi gure D r her children; h wever, the da te are largely Part ka 1 n th m i tim a tuall tak n a a fr m h r childr n. nd un u e ful and th time h hu , h dem n trate b ha i ur typi all an int r[i re M nin argu that di pr id afet urit nd par nt. h ra teri ti ith par nt ' abiliti 4 , and th t "p r nt rna fail t pr fun ti n [! 11 1) in be m a maj r att hm nt fi gur fl r th par nt; r (2) b ph i all una ail abl t th child " m th r b gin t treat him a a gr d pit hi g .H d n y nd t id th e pr t cti tl.ing th p r nt-child relati n hip, that the hild ming p ch 1 gi all y and/ r 4 ). nd , in additi n to b in g un a ail abl , mi chae l' n up . He ac t er mu h lik a repl a m nt man f the n t ha e ch re d ne fl r him; rath r, he i e p cted t take n m re re p n ibiliti e after hi fa th r I hat' hat it wa li ke when I V\a a kid . Wh n er th phone wa ~ r me - and if 1 wa around . and ir I vva n' t i k r gr und ed - my m thcr alway made me an wer. ever made e cu e , ne er t way he wa ri ght. But whatev r. glad t k a me ag . h lp th at way at all ... I mean, in a ft er all , I wa the man f th e hou e now . I had t be re p n ibl e. ettie alway call ed earl y n a unday. nd my moth er wa alway ee me up . he liked etti e for that rea on. My moth r alway had tu ff for me to do after he ki cked my dad out. (66) michae l's re pon ibiliti e in crea e fa ter th an hi emoti onal developm ent doe , a he 1 wly realize that performing hi fath er' r le, by d in g ch r , ~ r exam pi , will grant him freedom and hi mother' fa vour (168). mi chae l' rn a culinity bee m a perfonna nce wi th the goal of appea ing his mother and getting what h wants. ver dinn er, Mom' new-man pitch evolved into a mini-tribute to my i ter and me. A cavalcad e of c mpliment , reall y. he went on and n. T ld u what great kid we Partyka 1 wer uld tru t u h r ward fr d m . But ith adult matt r . m r p n ibiliti , I k pt thinking. fr i th th Thcr had t b a at h. 1 think m m m hift d h r [! u , b gan addr h ahead f her. I thi ar und u itt m ad antag . ( 197) ugg ti n t d t t ut hi new b und ari moth er' lack-! ali enation. f my epti i m, t tl . h kn d m. JJ e u , b au I wa a t ugh nut t a alr ad thinking ab ut h w I n time in u in g hi ne\\ l a qUJr d fr att nti n a an pp rtunit t g etti e' a a ar mg m dir crack. utI mi ha ith thi tru t c me nd h uld tum hi m m' di ert d e hi fir t p m . Hi m ti ati n [! r thi i du in part t aft r a b tched attempt t anal int r , and p e a he may p rc ibl y a! ur c, m art that h can in part t th e re entment he feel t wa rd hi it. Regardl e , the re ult i m i hae l' furth er fter he get kicked out f the Venu - a p rn graphi c theatre - he di c ver th at hi v hicle window i ma h d and that the J an had bonded o er, i g n . tabl y, rrn atradin g tape, whi ch he and hi mother nnatrading i a tr ng, bl ack, ucce ful fe male arti t from Britain, who e mu ic i deeply emotional. The c mbinati n f hi ali enati n fr m hi moth r and hi trip t the Venu make michael turn away from rmatrading a a role model. When hi mother ask about the incid ent, mi chael li e to cover hi wher about and he breaks the tape deck o that the tape cannot be replaced ( 199). The e acti on mark a regre ive return to the de tructi ve coping mechani m which he reli ed on when he burnt the photo of hi s father. Hence, michael' fea r of aband onm ent, in I ight of arl' in c rea d involvement, re ults in the destruction of previou lye tabli hed bond . Unfortunately thi incident largely goe unaddre ed becau e of hi mother' preoccupati on. he doe not for the i ue, ther by confirming michael' an ieti about lo ing her attenti n. o, he put the Part ka 20 m n £ ran taped k t ward an diting bl d h lp him n tru ti 1 arti ulat him If thr ugh hi film . n mi ha 1 d n tp tand up fi r him lf, he 1 k t hi m ther a a thi d hi h alth ugh di h n tl a quir d, Mart Flynn nt r hi life, mi ha I' r lati n hip n ilable. H uT k n t w rk ut m it i imp rati th c ping trat gi ay ut f hi a fi r mi ha 1 that hi in m graphi pr du ti n mp an , I nn k n, remam her i und rmined b thi au e h ~ ar nee t ary t iati n with lynn . Yet, 1 ment in the ret. lli ability t r nn ct with e p lynn thr aten t t II h r, mi hae l ap itul ate t Flynn ' m ment f in ight ( bil e h pping G r arl ar und hi m th r d e th be t he can, kn ith hi m th r i alm ntr I. Y t, mi ha I d have a hri tma ) in whi ch it bee me clear th at in g what h kn w ; h wever, he d e n t rea ll y kn w how to b an e pi rat ry atta hment fi gur , a h her elf nc er reall y had ne. Sister Mary Ain w rth ay that "aua hm ent th eory a ori ginat d by Bow lby i an opennd ed theory- pen to ex ten ion, revi ion, and refinement through re earch" (463 ), and ros mann add that "in addition to their parent children named grandpar nt and mu h older siblin g a attachment fi gure " ( 1 ). Whil e mi ha I' i ter is yo un ge r, he doe fonn an attachment bond with him that shape hi s behaviour via her expectation and reliance on him - regardless of how antagoni ti c they may be tow ard each th r. mi chael tell th intenogators that hi family looked after ach th r wh n hi father left: they all tried to fill the void. Yet, hi relationshi1 with hi i ter i competitive a w 11. Th two compet again t Partyka 2 1 ft r mi ha 1 burn th ph t graph , hi a h ther fi r their m ther' attenti n. in th ir r n iliati n en th ugh h d hat i g mg n. mi ha 1 u p t that n tkn ll b ing i minimal. h d e n t want t b l ft ut an that h r c n rn ab ut hi n ider al the pi d ith th hild er ti a that etti tak hi a thr at t hi pri a time thr ugh ut the b m1 ha I al differ n . at th alk mt hi r am time that it i fr m herd d' tud and r th e ph ot graph and manage lip int mi hae l' bag. Wh n mi h el g t h me, he di t hid e it n1 m m nt i ter j 111 ur eill an m. hu , hi upp rti c. Thi veral nOi k and illu tra te their rclati n hip w ll. him If t be m r re p n ibl than hi perce1 r ne, h a t al i ter du e t th ir age [, and ometime , albeit un uccc sfull y, even tric to pl ay father fi gu re t h r, whi ch h re ent and which cr ate ten ion betwe n th em. when mi chael hear that hi i ter ha r exam] Jc, tarted ee ing a boy, he get defcn ive and want to know mor ab ut wh the boy i ( 137) . Y t, the increa ing lack f in lvement in her li fe accompani e the gradu al ero i n f their relati n hip. They p lice each th er when th ey are together and are thu more likely to take ri k when apart. Thi i parti cul arl y ignifi cant when michael and ettie g over to the Ragnar n fi r dinn r. Hi i ter i baby itting in Kerri dale leaving him fr e to go nex t door without anyone know ing. Thi expl rati on i largely unsupervi ed. Whil e ettie explore with him, he i barely more experi enced and mature than michael. Yet, thi attachment toN ettie i one of the few cure ba e that michael maintain mo t of his life (with peri odic excepti on ), and , since etti e i al o inexperi enced, they tend get into trouble ome itu ations via her directi on. Furtherm re, when michael find s out that hi mom i eeing arl , he brags about hi new freedom to his si ter, to which she re p nd by bringing up the burnt photo . Th y ne er Pariyka 22 r all g t al ng and cann n ea h th r t k p ea h th r' r pr Rath r th ir r lati n hip , imilarl t that with hi m th r, p rien e thing whi h h ann t har , ln li ght f hi fath r' ab hi h in turn ali nat n , mt hael and hi m th r fi gur arl and Kai. ( r inabilit ) t inability t [i nn h alth [i nn deep r lati di integrat attac hmen t him id up rt. th m re he en fUJiher. ar h uta un gate fath r maJ r p int f [i u i mi ha I' abilit them. W rkin g fro m n hip with ther may re ult when th lby' th e ry th at "a n ucce 1 n f ub titute i t o frequ nt" ( r th rt n 76 ), mi hae l' . abilit t I gitimiLe a fa ourabl e m del rna culinity bee m in r a ingly di ffic ult with each fa il ed and uc e i , it become incr a ingly diffi cult t [i nn a Ia ting rclati urr ga te. M re n hip with any ne ther than ettie who can be r ad a both a e ure ba e and an xpl rati v attachment fi gur . 2 arl Kobak and Mad en highli ght the importance of expectati n of caregiver avail ability and maintenance in light of the di rupti n of attachment bond , where threat to the ava il ability of an attachment fi gure can produce fear, anger and adne family dinner after michael get hi licence, mi chae l u e th n w (24 ). During the f hi moth er' new relationship to bargain for more freedom, whil e simultaneou ly ali enating him elf fro m hi mother. In additi on, michael recogni ze that there i a imil arity between hi fa ther and 2 ne wonders then why Nettie i. th e except1 n? Perhap. , the an. wer 1s becau. e she retams a chronological prionty. His attac hmen t to her develops before his father leaves. Thus, he can return to her to find secunt , albei t he does ignore her in high schoo l. arl artyka 2 earl n. In th fir t r purp da a th m t g th r, mi hael i waiting in hi n that mg r m) [! r at thi p int, du t an m id nt in m h me. mi ha 1 ha m tti t hi h hi high fr nt f hi pe r . Wh n m1 ha 1 initiall r tum t hi r m and a g t a ay fr m that a iati n. Wh n ugge tin g th at h e p ri n ed thi p e r~ \\ d. hi c mm n t t ema u1 at hi ti n arl f a· fcminin . p r ua i n. Having f hi c ach, michael learn th e behavi ur hi i the ec nd e ampl e f uch behavi ur; the fir t i bby gu h and ntim ntal. mi hae l attac k e ual ability and hi relati n hip with hi m ther. mi cha 1 i him in h want t 1gn re him but ma ul ati n be[! re, at the hand and then project it ba k at arl. when mi chael ca ll rm ut beca u arl c me in, mi h 1 tri him, a in g h didn ' t kn \\ mi ha m i ha I b ema u1at m, h r m m er b ing puni h d nt . He m iate th t b hi fath r in that r m (n w d t th ba em nt ng1 h ld r ucce ful in d tabilizing arl ' fragil re pond , arl react with phy ica l aggr arl ' in evid nt in . At a 1 uriti e ab ut arl · body language, [! r h w to verball y n: arl came up behind me, lamming a hand d wn on my boulder. total Longely. 'Loo k. yo u I itt I fa ggot. I'm gonna be ar und her a lot I nge r th an yo u are. o th e oo ner y u get used to it, th e b tter. ot th at?' Wh at v r. Then he pu hed off and mad e hi wa y towa rd s th e door. But he wa n ' t fini hed. ' I mean , ]' m th e ne who· gonna be looking aft er your mom from w n - n t yo u,· he aid , a if to co n in ce him elf. Still, I pun around . I wa all et to lay into him , tell him omething trul y na ty, but thought otherwi e. He had hi towel clutched so tightl y it ate into hi wai t. And that wa enough for me. (22 0) 1 Th roo m shi It fro m a masc uline . pace to a traditi onall y fe mintn e one. Part ka 24 H r m i ha I r entm nt D r arl i ju tap and f habituall b ing di iplin n talgi 1 l. ngl y m id nt ith hi m m b hi fath r. na hu , th c nfli t r u11h nn r , mi cha 1 r turn t thi 1 cati n b habit thr ugh ut the n v 1 h n h ha [! ling m ther but al in hi r d f guilt. ith hi r , mi ha 1 i truggling n t ju t ntm nt [! r hi fa th r. 111 ith arl' r lati n hip t hi mi ha I~ I lik th e · man fth arl di rupt a num b r f mi hae l' atta hm nt and r l . hu e' aft rhi fath rl a arl b c me th ill gitimat u urp r. hu , th e chang i larg ly a mpetiti e tet '-a-t ;t [! r d minan . ln a arl ' c nfid nee a , mi ha l m th e chang b d ta bili in g thr ugh ual mbarra ment, but thi d e n t change the fa t th at hi m ther end up fa arl ' att nti n. Whil mi chael n unn g er reall y gr w t li ke arl, h ev ntu all y realize that he mu t put up with him . It i imp rtant t p int out th t reach out to mi cha 1. n e era! incid ent where f the e incid nt i n pr m ni ght. methin g tupid to him whil e th ey wa it, mi hae l i arl make a genuin e attempt xpecting arl t ay urpri ed when arl t II him : " J think if bi g of y u to attend y ur grad after all. You've made yo ur m th r ery happy" (2 80) . michael recogniz that arl care about hi m ther' happine , whi ch fru trate him ev n more becau e michael want omeone to la h out at, and with out hi fa ther r Carl t blame for hi feelings, mi chael ha no capegoat. He alone mu t take re pon ibility for hi feeling of abandonment. De pite the brief moment of c mpa ion, mi hael and arl never trul y manage to get past their difference . Very oon afterward , arl ffer him hi adi ll ac for prom. he ad ili ac serve as a ymbol of rna culinity, power and wealth. It i a tatu ymb I whi ch many men pur ue often in th e hope of attractin g wo men' attention, but michael g ts angry at thi ge ture. A ide from the cond e c ndin g way that it i of[! red (a an Part ka 25 ehi 1 hi m th r alt rnati e t th non-ma ulin u h a grandi di pia fa t, th g tur impl un eeml . Thu arl ' g1v m1 hael a trip t f ma etti . arl d n t und r tand that lth i n t imp rtant t mi ha l. In If-image. mi hael, f t ur e, thi a f[i r i int rpreted b mi ha I king. In additi n, wh n ur p it a a [! r gr duating, michael p r him ut f th wa . mi cha 1 g t angr b au ith n ) ay [! r arl t get the trip m an that h will I t thi p int, h tell hi inteJT g t r th at h " felt arl pr 1 u tim un ant d" (2 85) . lt i with thi ba kdr p that mi ha I att nd hi pr m. Wh en he return home, h find ut that etti e dying. mi cha 1 retr at t hi ld b dr m, whi h he ha c m to a iate with epi de b ing di ciplin d by hi fa th r. ft r a entir ly in ignifi cant ge tur . " Iittl e Iat r. arl leaned in . ' I ley pal. orry to h ar about etti e. J had a i t r who di ed at h r age . hil e, arl c m f in and make a mall th ugh n t r wned. If ou ever wa nt to talk ab ut it. I'll be around . J u t letting ou kn ow" ( 02) . ut, b ~ re mi chae l can ay anythin g, arl leave . nee again, michael i encouraged t expl re hi .D eling but i never given th e pportunity. arl ' s good will , whi ch i too little to late, b come m re ymboli c than practi ca l. Thu , at thi point, michael feel completely ali enated. With Netti e dying, hi moth er and arl ending him to urope, and hi lated. ister's in crea in g ab ence from hi life, he feel i Kai Although michael eventually co me to tolerate arl ' pre enc , h do not a cept him as a rol e model. A a re ult he earche out oth r altem ati ve - particul arly on e that do not threaten the relationship between him and hi moth r. h011l y after mi hael reunit wi th Pati ka 2 etti hi ne t d [! r Mr. Bi ll ingt that th n r neigh ur , the Billingt n , m n' pen hant ~ r hild p rn graph (1 nei ghb ur Kai Ragnar up t th h u their r lati n hi t th Ragn r r ). mi hael and n, i a big- tim dru g d al r, and u ttie h ar rum ur n ing him pull nam ur d. h y d tti and mi ha 1 find th m ith hi uti n e ut - pr umabl f n ar und r adil a ailabl ad etii ing imag k'n ' r II id I : etti p int d ut th at Kai and u' d , e 111 r rd - t re pr m ind a Me arth r ne fth . I had t agr e. p1r t - but, aga in, wa think Paul and tti e remind d her er k' n' r II t that w thou ght th at mpared t thew rid we w r li ving in. o: J arne Tayl r and arl y im n, Buckingham/N ick . Imagine th e deep tan , th wind -bl wn hair, th e I k f a coupl e wh ju t Dew in fr m omew here important, mewhere th at mattered, exy ... But whate er. We wer m t impr ed with th e Ragnar on . ( 141 ) ventuall y, michael and etti e c me to rec gni ze the inc ngru nc b tween their imagination of the Ragnar on and th ir experi ence of them. ne evenin g, m icha I' and mother are both out of th hou e, making it ea y fo r him and Ragnar son ' for dinn er. mewhere etti e t ter neak vert the nee in id e, michael recall the layout of the hou e and make particular note of remembering the ba ement even though he cannot remember why he had ever been down there. nee Kai c me downstair , all four of them get drunk, moke weed and talk about Dotti e's " love ex perim ents''. Wh en Kai and Dotti e fall a Jee p at 9:30, mi hael and Nettie noop around their hou e; once aga in N etti e initi ate the xplorati on her and encourages michael to join in . In the ba ement the mu tin g t mi chael excited, and th y find the Ragnar on ' ex dungeon in the rna ter bedroom. Thi i one of everal ambiguou Part ka 27 to a ual ten i n b twc n him and ha ing b n m m ther that h t d a a hild m a n Billingt n p r[i rm up e e ual a t n him (2 7- ). nanati n ibility f mi ha 1' en th ugh mi ha 1 t 11 hi ral time . iII ingt n I 7 , h d th ba ment, at whi h p int mi hael d id a game like the illingt n, a th p ha a "dr am " in entu 11 , m1 ha 1 and hi ch etti ha 111 that their wn e ual e p rim nt ar n had b en. mi ha I re lize that h r all are [! r nger tti e, and th fragm nt nd with th m n aking ut f the h u entu all , mi cha 1 d id t p rt a with J hn and Penn , th inclu i n p eud -famili al, intimid at c n nti n f th him , relati on hip cr ion f bound ary lin ith Kai . imil arl y t h w he part way m nts int th ir rclati n hip , which are ifica ll when they tran gre th rwi mi chael i generall y the ia!l y ac ept d m[i rtable with the betw en tea h r/ tud ent, adul y uth , par nt/chi! d. It i cx uality that complicate the er i n of the e b undari c mo t. mi chael i very wary about hi exuality and wh he pl r it with ( etti e being on cio-cultural attitude toward child ex uality. f the exc pti on ) probabl y du e t fter all thi element of mentor hip or exchange (from old to y ung, white coll ar to blu e coll ar, authorit y to ubordinat ) i omething that re onate trongly with michael. He c ntinu e to develop it in hi later pr duction , which uggest that micha 1 i earching £ r ome tran ference of kn wledge or expe11i e: some ort of coming of age ritu al. Yet, exuality i ne f the few area in which the boundary lines r main rigid, and a we will ee later, michael u e hi p mog raphie to chall enge this. It should e noted that Kai' inv I ement in mi hae l' li~ i pred minantl indirect, and it is thi peripheral influ ence that overwh lmingly conn ect him t mic ha I' father. Part ka 2 ft r all, mi ha 1 him lf draw th Fami/ mpati n in hi intr du ti n t hi fir t p rn , TIL o , wh n he " a t " Kai a th fath r. H in the n v I th " [! und p rn graph " r -appr pri at hi h till , Kai' pr nee lin g r th t t rath r than de tr r m1 hac! thr ugh ut th e r t [ th n 1 itm tif [the a trating fath r: lynn tell mi ha 1 that Kai i hi mi ha 1n er tand up t him. H kn a arli er ing it, a[! t . H n e, he ca nn t el, in the , which i partl y why that h cann t e cape b he li e . mi hael ~ ar fl r hi pri ac (1 t Kai h uld r and fl r hi famil ' h burn n m i ha I' p rt. I pm nt I pr me de unlik the ph t Kai kn w wh r al hi p m graphic inv Jv mcnt) me cle n beca u th e natur f p mograph y mething hidd n and illi it ( p iaJI in regard t hi age) w rk again t him . Whil e ecrecy help mi hael a id per ecuti n r critici m fr m the general public it al make him u c ptible t manipul ati on by ther .4 It i un urpri ing that thi c nn cti n b tw en Kai and th fath er p r i t . H wever, befor thi per i t nc i amm d, th re i ne key el ment th at require attenti n: Kai' capacity D r vi lenc . B fo re having ex on the porch, Kai and D tti e are di cu ing Mr . mart' no ine : "' Well ,' aid Kai, ' th n xt tim e om b dy ti k th eir no busin e s, I' II ju t sh In our t it off ' ( I 82 ). he thr at of violence here i fund amental beca u e it reinstates the fear of theca trating fath er within michael. Kai' lac k of he itation in re orting to viol ence remind michael of hi fath r. hu , th e po ibility of mi chael being puni hed, whi ch di sappea red with hi fath er' departure and wa di continu ed by hi s mother, i rein tated by Kai. Thi is perhap the rea on wh y Flynn i abl e to control michael o ea ily: mi chael has grown up with ut having to re i t the power of a patri archal fi gure, whi ch i not 4 Witold ornbrowicz 's Porn og ra.fia erves as a se minal wo rk regardtng th e that which is hidd en. nnotati on. of po mograph as Pat1yka 2 t ay that h mi hael i er li ttl wh n uld b bl t ubmi e t ph 1111 u hi a u nfr nt Kai r ~ 1 nn th rwi full all nt ~ rm iati n t Kai a thr at. a ting fri ndl t mi ha 1, it i th th r at n 1: " nd I g t bu t d, (1 ). H e nt p nm nt d n t r all hu ml ha el truggl nd alth ugh n nd hid b hind th blind all da r, Kai' impri F r thre night m a r w r. nc th at 1 m a talkin g le . I m an. th re VI a n tti f th att k ar fthm " 't k care f th m" like mi ha 1 think . mi ha 1 ha a dre m in whi h Kai nd up killing him . he e mi hae l' ub m th ing th at hi u kn "" meeting Fl ynn b at mi chael up wh n h tri hi bo Kai ft r Ka i fin II ading up t a meeting with Fl ynn (2 tell him that hi b er ta Ik t . cur n the three da 1 nly v ry r him ~ r th re t [ th dream n ut rath r that ' " [i ] apabl e n 1 ). it appea r that u mind ye t d e n t. uring the quit w rking ~ r him . lt i here that lynn r th e mo th e in u thin g "(274 ). and th en revea l wh i . "[W]hat Flynn had to ay ne t c nvinced m that n matter h w fa t I ran, no matter how hard I tri ed t hid e, hew uld find me eventu all y. Hell he mi ght even kill me! what did he ay? Flynn told me hi b wa n ne oth r than Kai Rag nar on'' (274 ). o, Kai com e to haunt mi cha 1 ev n in hi ab ence, and Flynn u e thi threat to co-o pt mi cha I' talents. Whil e Fl ynn i th e one -wh o dire tl y u e mi chae l, it i Kai' indirect influ enc th at keep him in line. Thu Kai' legacy for mi cha I is ne of anx iety which effectuall y itu ate mi chael in a po iti on of inaction and ub ervience. Film Thi addr ecti on will e pi re th deve l pm ent of mi cha I· art-a -becoming by ing hi film in a erial manner. o chrono1 gical e amination wi ll how both how Partyka 0 p rn graph all w mi hael t d al ith hi r time. What initiall b gm a a [! be m an a ti truggl [! r peri n e f famil and h w hi leap and b und at arti ulati n and r pr entati n f cr hi m d 111 p n enc . urth rm re, the film raft de el p rd er t pre i n. In hi film , mi h el hap and mak m amng f hi imultane u 1 h lp mi hael r gniz and n titute hi id ntit In di u in g atta hm nt th th h rmeneutic a p t f p ch Recent d el pm nt m ' appli ati n t th rap , J r m H lm e id ntifi m reg rd t indi idu al ca tta hm nt he ugg t an ting brid ge betw n the p yc h analy i and the cJence f de el pm ntaJ p ych I gy. Th r i a tr ng link betw en the ki nd f atta hm ent pattern [! und in infan y and the naiTative that pe pi tell ab ut them elvc everal year later. (9) He ugg t that ecurely attach d children tell c herent t ri e ab ut their li ve , whil e in ecur ly attached children ha pr bl m with naJTative competence. There[! re, the hift from coherence in hi initi al film (within th e naJTated wo rld ) t fragmentati n and incoherence in the acid trip and th e inteiT ga ti on how mi chae l' ev ntual de c nt int insecurity. I will di cu thi more in depth later on. Jo and Barbie The first film that mi chael make i call d Joe and Barbie. It is born out of an a ignment given by Mr . ingleton. The film follow a maJTi ed coupl e Joe and Barbi , a they deal with marital troubl e (29). In the final cut, how ver, Jo and Ken run ff tog ther at the end , tlm di verging from the conventional heterononnativity of fami ly tru ture a Pati ka 1 r pr nt d m1 hae l' h m li[i, h a a tam unt f fid lit b t n. Th rding t mi h I, i minimal. Wh n Penn a k him ab ut th film , that Jo and Barhi a happ ning at h m pl t, atirizing t I hat raJ thing n a n at th tim than t what ning h r ; m1 ha 1 i n pr gram and h matt r. Perhap gi n th at thi prefabrica ted tr p n Jo and Barbi and n ati nalizing hi ing marital tr ubi a hi pnmary ubj t fmi ha I' fir t v. rk , h r li e h a il y n t gr und hi 1i ed p n nee. ft r Penny tea he the la m n lithic and h m gen u r pre ntati n charact n tic f , and after h ab ut th e ritiqu e mi ha I' tr atm nt, mi ha I make igni fi ant change t the film . H u e id ea lized mid - twenti eth-centu ry uburb an fa mil itc m a a t mplat fr m whi h t chall enge th functi nality and g nd r reg1m w 11 a h m f the nu I ar fam il y. mi ha I intr duce marital tr ubl e a ual d ire int the [! rmul a in rd r t pr ducc a m re div r e reprc entation of famil y li~ . p cifi ca ll y m nti n d i the h w Leav it to Bea'' r, whi ch i a much ab ut American b yho d a it i about the id ea li zati on f m ri an fa mili e . he h w' framin g of th e narrati e from th bo ' point f iew wa quite in no ati explain why michael i fo r it tim e, whi ch o drawn to it a an exemplary mod 1. mi chael ay , " I wa nt d t make fun of TV . I wanted to do omething th at would remind pe pi e ofTV, but th n twi t it into om thin g un e pected, omethin g yo u wo uidn ' t ee on prim e -tim e" (63) . In di cus ing narrative proce ing, cognitive narratologi t Ri chard Gerri g argue that we are more likely to u e exempl ary chema fro m our long tenn memory than pro totypical chema (as clas ica ll y thought): " Rath er th an in vo king tati c, bound ed chema , the exemplar view ugge t that the particul ar narrati ve c ntex t in whi h infom1ation app ar h lp to determine the memory trace that wil l fl h out reader ' rep r ntation ., (40). While Part ka 2 rng 1 n rn d with th int 1 tabli h d th imilarit b tw th pr ducti n f hi film n tru t a c h r nt narrati li de pen n h 1 e f ubj 11 n r du ti nand r mi ha 1 u t a f narrati e c mJ t n e m lary h . h fr m rna pti n. H n 1 ng t rm m m ry n ultural t matter (marital tr ubl ) th at gi already it an b argu d that in h rna m dia lik film , b ha d drawn th fr m hi k , mu ic tc. It i , th n, th u th bi gg t in ight int hi fram f mind . mi ha 1 d hi li ed el p hi craft, th r t of hi film bee m increa ingly r ferenti al t (a lth ugh th cru ial a p en ati nali m h empl way . Thu 37). pre be me t n erve a du al pr c t of fi cti fanta y p r i t ), nd the I dea ling with p t i ue by r framing th em in new , at n e b th refl cti ve and intuiti ve ( en-J g n oth r thin g t note i th at mi hae l' fin al ve r i n f Joe and Barhie i quite di fferent - p rhap du to P nn ' ritiqu fit a ·a pitiful male fanta y.' P nn y' criti ci m of h t ronOimati ity make mi cha el e pand hi c ncepti n f rn a culinity and it perfOimance. Whil e Penn · in I em nt i minim al. it till demon trat th e c ll ab rati v a pect of the producti on of the film , and it brin g v 1 ibil ity to m icha I' role a a cript r rather than a an author. After all , the tex t take n new meamng after it initi al concepti on and production, and in defending hi s fin al ver ion, micha 1 ay that de pite hi ow n intention even he i n t quite ure what me age he wa tryin g to convey. Thu , what is significant, and what will be di scu ed fUJih er later on, i thee t nt to whi ch mi chael hare , retain and lose control of his production and con equ ently hi ac ti on . It i about th everity of the con traint put on him by other . At no point d e micha 1 ha freedom or comp lete ub rvienc in hi action or in the creati on of hi fi lm omplete Part ka Th Famil r hi n t id , Th n th ir p r h. H z r at a narrati e b rd the R gnar n ha ing d pa11 thr ugh ut the ing k at in what rd r. P rhap thi i why h ubj t t th am limit a bj ti ity. r n h phil hat b 111 ne and o 1 n t a" ~ und p r[i rman e" aft r all. Rath r it i ma ph r and tr t m ma with th ir im ibility f dga r M nn ay , " th r ar tw wa to f th em ma f the R al: he fir t i t pr tend th at y u can pre ent reality t be n; th c nc 1 e mi ha 1 ecretl y r m in and ut n dif.G r nt that Th Fa m i ~v mi ha I tipulat c nce1v ami/ o nd i t p inema e th - pr bl em fr ality. In th e ame way, th re w re tw way t 'rit '. Th firt a t pret ndthat y ubr ughttruth . The ec nd wa t p e th probl em I truth" (qtd . in Le -Wri ght 9 ). In mi chael' ca e, th e element f cop philia bring i ibilit t th film ' di t rti n fth e ' r a l. ' In additi n, mi chael r contextualize th fo tage in hi intr du cti n with everal r fer nee to hi h me life. Thu he provide in ight int hi relation hip with hi famil y a well. michael' re ntm nt for hi fath er i mo t evid ent in the rol michael ca t for him ; he introduce the film by aying, "thi i th e st ry of a man who do un pea kabl e thin g to hi famil y, and th en, when he goe to bed at ni ght, dream ab ut what th y mi ght d to hi m" (2 12). In resp nse, Netti e p int ut that th father remain in control of the puni hment, because he i the one who dream it up . It i intere ting, then, that mi chael would ituate the father in this dominant power role, with th father' ma ochi sti c pl ea ure dom inating the seen . micha el! ret nd t pre ent a ' reality' in whi ch th e fa th er' domin ance i total. In the film , the expr i n f the d minant rn a culine de ir super ede the xpres io n f the other Part ka 4 hara ter . hi him If ar pr t un urpn mg ith r D mal ridi ul mi hael ar t What i n id ering that all f th r n n-h i all h ter n rmati rm ti h n urag micha whil the har mal urpn ing th n i th in lu i n fp rver in th film - th hu b nd i p n trat db th a le Rubin ' hi rar h i~ [ e ualit in Thin kin h in turn i X (J by th d g. 4) h lp t r i i n. Rubin argu that e ual a t that pr rea ti ut ide f th ' harm d ci r I '), ar j udged t be imm ral by ur paradi gm ultur . Hence fr ming thi pe1 mi hael mpli at th repr i t ut id pi in mi ha I' ual, mani ed, and ualit a ap r du t of th e fath r' ntati n [ n rma ti ma ulin ntr I i un ou uality. ven th ugh he d e littl e t fram thi pi a ur b ) nd th e fa th r' co ntr I, he hall ng th e h m gc neity f th heter n rm ati Th Fam i~v Do i al tellin g ab ut m i hae l' relati n hip t hi m ther. In the intr duction, mi chael claim that the lip i an uttake from an ld r film ca ll ed Th Story of thi Family- So Far, whi ch i a r ferenc t the h me movie mi chael wa tch with hi moth r after de tro ying her photo . Thi re~ renee indi cate that michael u ed hi fa mil y hi tory a an exempl ary model in the fl rmul ati n of the intr ducti n. It al o indi cate the way in which michael perceive hi parent ' relationship; he ee hi fa th er a a man who abu es hi famil y, while he ees hi m ther a a woman who doe not impo mi chael includ on th r . a pi ece f her advic in the introducti on to hi film : " I would al o like to empha ize that j u t beca u e yo u may e so mething yo u don' t like doe n't mean you hav th e ri ght to take away orn e ne else' ri ght to ee it" (2 12) . He frame the vid o within a non-judgemental imperati ve to di stance him elf from the oppre i ne of the ma culin Partyka 5 influ n . H w due t hi rea pr ptiati n mi ha 1 hyp r perha wn th fi ha th right t r c rd and di tribut th film ; h a t a if h Th di tin ti n b twe n pr bl mati in thi in tan m hat i pri ate and th Ragnar ha r purp d th fi tage int u fpri ac an la and rem rguabl mad e re ning th film b au t ithin 1ew f h fe 1 that he id r p n ibility by . Thi i , aft r 11, n t th fir t incid nt wh r th I. mi cha I and . arli rinth e n tage. nth ir bal ny m thing el . He tri maintaining a n n-judg m ntal impera ti 1 hat i publi i n ha th ir neighb r . H ha n ethi al dil mma ab ut ritically a t a if h e th bl a k marker whi ch co er them. etti e take film ru he from P nn y' t th time, micha 1 feel un co mG rtabl e ab ut en r a hin g n th e in gleton · pri a , but tti parti al! all ay hi anxi etie by po iting the i ue a a pr bl em f j ud gement v . interpretati n. H nee, when mi chael d cid e t Thank to reception , mi cha Barth reen Th tti e' Fa m i~v Do , he doe with ut re traint. ritique, Jo-Jo, and a number of heter gene u audi ence ome to be m re intere t d in audience · interpretati on f a tex t. would di tingui h thi di fference a that between th e writerl y tex t and the readerl y text. michael! k t create a writerl y tex t - ne that require ignifi cant engagement n the part of the audi ence. Thi i why he eventu all y drop the peech and begin to tud y th eir diverse reaction instead. When di cu in g th e creenin g with th e interroga tor h many ways th e creening were the 1 a . " In t u eful to me in that I learned a lot about the male pec ies" (2 I 5). The reaction of hi audi ence help him learn about the way some masculiniti es operate. The case of Derri ck weeney i particul arl y in ightfu l be au e it demon trate the contradiction or di v r e perfo1n1ance of ma ulinity. Derrick ha a c mmerce degree i atholic and i engaged to a woman, whom he ay he may continue to Part ka h at n aft r maniage. uring th ur am unt fb er i rri d ut aft ran impr mptu trip-t a , r turn nak d with an re ti n and a pap r ba g r hi h ad , and i e 11 d ba k ut. H n , it i ir nic that laim h i a laid ba k p r n. H t 11 mi ha I that h think th film i g d [! r nr lm nt. h ju tap part ing and I [ n in tan eJTi k pi a , frat pat1 anim I. cont iti n f thi ntr I d m n tra t the h hi , in parall I d the n tr d i rri k i k, but will n et ati m with hi e c fm a er[i rman famil man y t in an th r lay th r ith utl er· th tu all dynami c hift f g nd r 1 er.fl nnan a well a the heter g neity f ma culine eJTi ck, mi hael i abl e t de el p a m re nu anced und r tanding of ma culinit y, a pp hi t ed t the ne pre ent d in hi intr du ti n. u e p m graph y a a wind w int the va lu e and percepti n oci ety. A he ay to th interr ga t r . " J think it had 111 rc t d with [ nge la fth e n e ab ut g nd er, h w th e r le . By tud ying harac ter lik o, mi chael 1 am . In methin g el e art r] aid : h w porn graph , if if u ed pro p rl y - and by that I mean in the larger contex t of th w rld - h w it can ca ll into qu e ti on all the in equ aliti e inherent in th e way the wo rld i rgani zed" (2 18). What he i ay ing i th at a c mpli cated text can draw out the contradi ction cr ated by an imperfect y tem thereby givin g vi ibility to it inequ aliti e , and , while he attempt to embed hi m raJ into hi pomographi e , the interpr tati n of hi videos remain ultimately dependent n the r ader. [ Partyka 7 H PT R2 In " f nt g n m1ati tt hm ent," Mar in and p int ut that ' [ ]ld r ibling , p ifi t a h r a ult m mber ld r neighb me 1mp rtant p and ad le c nt " (2 af~ ). Y t M rvin and f th e tend d [ mily, pl in th li e ritn r ar h itant ab ut [ h e parti ul ar relati n hip , it i In a umpti n that mi ha 1 relie a ) ince he d n tr heth r they are tru attachm nt fi gur e1 n the ucce i e fi gure (in an [ en ugh attachm nt at h m . Regardl e r n t, th e e un· ga te [mi hae l' c mpet n ] ~ r adaptati n t new elem nt indi idual rna uline mann 10). trong t attachn1 nt fi gur 1-age hildr n h th r th e b nd are ti nal , atta hm ntal r th r 2 attachm ntal ritn r imil arl y "ch 11 nge f [hi ] culture a well a t [hi ] tabl y, th teacher that pr ve t be the are eith r fe male or n n-heter n rm ati ve male . Mr. Gingell The fir t teacher that mak a Ia ting impr not much i know n ab ut him . in ce mi chae l crave ion on mi cha 1 i Mr. xpl rati ve attac hm ent reputati on of taking hi cla es on fi eld trip appeals to michael. to be in his cla s, michael assign inge ll , th ugh in ge ll' ven though he n ver get inge ll the r le of the ideal t acher. Thi fa nta y i u tained becau e michael never actually deal with the real man; hi narrati ve onl y pertain to the time after inge ll "r tire ,"and the idea lized image ha a ignifi ant influ ence on hi life. mi chael pend a ignifi cant porti n of th nov 1 trying to ut what reall y happened to 11 through rumour ingell. Hi per i tence indi cate that t fi gur ingell wa important t Part ka him. Wh n th interr gat r a k mi hael a h m e ual, mi ha 1 t 11 th m," r ualit de it the t I' m1 ha 1. Hi ar b th [!II \1\tn g abl " ( 6) . mi ha el i a n that aid r- ri nt d thinking tak p n n ing 11 g t fir d ial and ultural tigma again t h m the c IT p nding rum r like th h h th r h think f thi gm nt fmi h th pi a au pting f ingell ' ualit , and h i ing 11 m I t d a pecial n ed k pti al f tud nt. h iding m ti nal and m ntal upp rt f pr hang in in tituti nal tru ture and pri riti I' te tim n ab ut It wa during ur fir t w ek bac k and [Mr . h wa i illu trat d tn g II' tcrmin ati n: ggie] had n a igned t meet with u individual! t talk ab ut ur futur pl an . I think I 1 ent my entire fift en-minut i it rambling n ab ut h I fe lt ab ut Mr. ing 11 and what had happened t him . And all I r m mber, th wh le tim , wa her leaning ba k in h r qu eaky chair, tapping her pencil aga in t her t eth, I wa king at me li ke 1 wa out f m y mind , like I meh w c mpli cit in all thi . ( 1 ) Mr . Legg i ' rea ti on dem n trate d i rega rd n be half f th e ch ol. mi chae l' mental tate in r gard t the incident i ignored and no attempt i made t coun el him on the matter. Th e ch oo l' po iti n. it ems, i t cover up the incid ent and keep it qui t. N other appointment between Mr . Leggie and mi chael are chedul ed; rather, mi chael i left to dea l with the situati on on hi own, and , con equ entl y, he doe n t get the opportuni ty to ex pl ore hi thought and feeling in a afe way. The ex tent t which th ch ol has fa il ed to pro ide him with suffi cient screening or support become apparent on the econd la t day of elementary choo l when Mr . Leggie tell s mi chael that he i glad th at he i ver in gel !' tetminati on (90) . he recall how michael was m re di turbed than ther by the in ident and imply as ume that he i n t troubled by it anymore. They d n t di cu th incident any P Ii ka fUJih r. In tead m t u c d t talk ab ut hi futur plan and hi aptitud t t, in whi h hi h pr ful car r are a f1 ri t a m Iii ian r a ldi r, thu pr iding him with g nd red pti n (death b ing an utral n . Thu , mi ha 11 in th ch tem and it e pI r hi G Iin g . t th pt d ~ 1111 it iall a an e mplar lat r n. mpl e m th m tim , h al d n t pr arn id him with am an t h f e ualit . mi cha 1 c ntinue t admir Penny Penny i farm r alt nti 111 nfiden I' g nd er r gim e and mg 11 and u him a leton t h r tud nt ' need than th e ch ol' guidance c un ellor. he care ab ut micha 1 and fa ilitate hi adj u tm ent t the ch 1 envi r nm cnt. Thi i e p ciall y imp rtant to michae l, c n id ring hi arre t d em ti nal devel pm ent and hi lack of xplorati attachment at h me. P nn ' fir t rd er f bu ine is to win th cla ver throu gh op n communication ; he ackn wledge h w much they liked Mr. in gell : [ ... ]our new teacher too k a mall st p forward and t ld u , in a very oft v ice, till miling, that he knew h w much we loved Mr. Gingell , and that if we w rked hard thi eme ter, he would tell us a much about what had happened to him a he pos ibl y could · but that we had t w rk really really hard , and that we had to all rea ll y rea ll y tru t each oth er, beca u e what we we re go ing to do in her cia wa n 't go in g to be ea y, and that it wa g in g to b far dif[i rent from what Ia t yea r' even did . ( 19) rade Partyka 40 B pr iding a her nt tr n iti n f th tr ng ba e fr m tru tur uiTi u1um. In t ad , h find n raJ 1a b1 gam r di dain fr m th Ia anything e r u ed at th t it during angu ag tr atment, h ing 11 t her lf, P nn f th k int l. a pi re, and Ia , h r all d e n t tray t far fr m th r ampl : he n film -making cia . hi un rth d y, h w v r, h tak till , th e cia am material. it up n him elf t reprimand Penn y and ri gin al tru tur . Jt i I 97 h a~ 1 ecur 1 ar t t a h th e pnn ip a1, r t re th fr m (and mi ha 1 in parti u1ar) an hi h the hange th mbin 1a ft er all and Penn m th d are unlik c ntinu e it pr ject m a mall er capa ity rt . he tud nt p er ~ rm hand - n e er i e like writin g a yn p 1 and ting a film , and editing the [I Within thi tage. tru tur Penn teachc mi hae1 and the re t f th e cia a number f n . Aft r mi ha I' pit h for Jo , and Barbie, Penn ha littl to ay be id e th at it "had all th e element nece ary ~ r a go d film : t ry. pl ot. chara ter, onni ct" (28) . en ing hi di appointm nt, Penn y acknowledge hi nthu ia m when he intr duce the nex t a ignment - the tr atment; howe er, mi chael lo e hi enthu ia m when Penny a k him t tay behind after cia (2 8). ince ta yin g after cia typi all y ignifi e ' bein g in tr ubl e', michael i anxiou ; how ev r he come to r ali ze that Penn y i in fact ju t concerned about hi well-being, when she a ks him about the imilariti e betwe n Joe and Barbie and hi home liD . Her choice to communicate with him further D ter tru t whi ch come in u eful when he ha to be critical later on. When they hand in their treatment , P nn y' revi w are cathing. he go a far a to call mi chae l' work a "pitiful mal e fanta y," ince all f the character act wi thin in a nan·ow heteronormati ve paradigm. In the trea tm ent, J e and Ken fi ght o er Barbi and then Part ka 41 h r ung r h m nu ki p r. aggr bj while Barbi and ki per b n nd r th n that P nn in qualit t p werr latin . H p n n fth e nfli t ;' th tr atment n tmalize the r atthi cultural ter and mi ha I' tru t [! r h r, that mi ha I b gtn t pr due d partur ith th ir t in th fu lftl lm nt fth m n' d ir . It i all thi a ' pitiful mal fanta fth g nd r impJ arti ulate hi t d al int mi hael till u hi type . It i du t P nn riti t m, riti al film that tak radica l p radi gm. in e mi chael tru t Penn , h kn w that h i fr m the n nn ti being e tra hard n th la imp rtance f thi f p dag gica l appr a h within the typ i al view f hi erarchica l r1 t b cau h ant t challeng th m. Philip Ril ey hi ghli ght th e tea h r- tudent r lati n hip : [In] the id al itu ati n the tea her pr tud nt, id e fi1m upp rt , and empathi ca ll y fail ea h the 1 arn n t nl y ab ut th w rid ar und th m, but al th eir elf- ffi cacy within it. Thi i the c mm n attachment m del appli d to educati on: teacher a car -gi r and tud ent a care- k r. ( 626) ince Penny ha alread y pr vided p n c mmuni cation b tween her elf and her tud ent , he i able to be critical without alienating them. i\ ev idenc d by mi chae l' fin al rev i i n of Joe and Barbie, her m thod wo rk . Penny al o tri e to convince the tudent that it i important t work with oth er and to consider ther ' per pecti ve , e pecially in a collaborative medium like film producti on. hi i why she ha th e tudents pitch their film ideas to th cia . imultaneou ly, he attempt to di pel the id ea of the author and tri es to get her tud ent to think of them elve more in term of what Rol and Barth , in "The Death of the Author," would call cript r . That i to ay, in place of the ol e pre-exi ting author/owner of th work, for whom th Part ka 42 m anmg 1 d p nd nt n ut id fit. P nn m rge th ant th lain u mi ha land ript r h tud nt t think b t fth ntuall tak th e le tud nt h lp n t heart, a ti hi that " ti d n' t V\ rk" nd t th int rr gat r dag gi al m nt r hip i in tark hi h d m n trat a c - pti Th n tI gcther int h r pri ate li~ . 1 ha 111 ~ he li he gi to h r. int rrogator . B th parti t h th r ith th ir film . till id n db th lr r ati n fa ntr t t 1111 cntual claim n 1111 hae!' narrati e, r m c m etti e t al f e the black mark r t get a glimp e u her i the interr ga ti e nature f Penn y' re p n e. When h confr nt him , mi hael trie t c k the ru h n te 11 diting e er i , wh n ith mi hac!, th t, and briefl menti n d th pr blemati nature f thi v y uri ti c 1 ment in chapter n . Thu t ith th t nd h g m 111 narra ti e pr place during th P nn · film ru h b rn nd th ir film c b th f 1 michael th er [! r etti e, but Penny already kn w wh pp rtunity to c nfe , but in tead f coming clean, n an be made here between Penn y and the know that mi cha 1 i lyi ng, and b th all w mi chael t re eal hi hand by letting him li e hi way into a contradi ction (49) . P nn y d e not allow him to deceive him elf, which michael tend to do often (con ciou ly r uncon ciou ly) . Whil e elfdeception can be een a advantageou , according to Triver ' evo lutionary- biology informed approach, it can e harmful fi r relation hip a w 11. Triver argue that the ucce deceiving other increase with the ucce of dece ivin g on ' of elf. Hence elf-decepti on could allow michael to manipulate or li e to oth rs more ea ily; how ver, thi s elf-decepti n i dangerous becau e it allow him to rationali ze de tructive behavi ur and lo touch with other character ' rea litie . P nny trie to get mi chael to come to thi r alization on hi own Pa11yka 4 I tting him li hi tir d t m up a int a ith an ad quate puni hm nt and that 1m . 1111 ha 1 t ll th int IT ga t r that h " uld uffi h tell him that h i t ntr di ti n. Wh n h d r lating what he aw t her uldn' t think [a th ir li~ that th puni hm nt th n ha ing t d rib t ~ rg t" ( mment can be int rpretcd at th le el f th int rr ga ti n a w 11 ; ) . Thi m b d p rt m i ha I· liD i being pr b d and h i b ing mad t reli e m m n [! rg t. Th interr gat r all mi ha l ut ~ r fabri ating pa11 [ th that h w uld like t [ n , but r gardl it unr liablit mi ha I a c 111 pr perty" (50) . P nn · ru h . hi m th cr' ph t . th judge' ev id en e. Fl rnn · mug h t , and th at P nn ga e him h et b m thin g th at day: an in ight. ' It all en m i hael· tc tim ny: the ar all ab ut pr perty. ince b th hi m th rand P nn tJ t teach him b ut pr pcrty thr ugh inci dent with ph to and film ru h , w ee th fir t ign micha I' m th er nt Penn y. w ek b e ~ re the hri tma holiday , mi chael n ti ce Penn y crying a he 1 a e the la [ the tran p and he a k her if everything i iti n f attachm ent fr m kay. The comm nl y c nceived hi rarchy betw en teacher and tud ent i up et here when mi chael attempt t give care t Penny. Hi acti n ar r ciprocal to Penn y' own caregiving. whi ch in turn dem on trat th e influ nee Penny ha a a r le m del. The two begin to devel p a trong bond, e pec iall y ince Penny ha lo t a child and ince michael continually eek out a ecure xploratory attachment figure . Thu , the traditional m d 1 fl r vi wing teacher- tudent relation hip mu t be expanded here. Recognizing the limitation of this unidirectional tructure, Phillip Riley say : if the teacher ha attachment need that only the tudent can fulfil, a dyadic rath r than unidirectional attaclunent between teacher and tud ent can and will de el p. In Partyka 44 thi ituati nth adult atta hm nt m d 1 f r ipr am Thu riate len thr ugh am r r r p n ibilit 1pr hi h t vi w th t a her- tud nt r lati n hip. ( 2 ) al r lati n hip b gin t D nn h r , in [I r P nn ' al are-gi ing and ar - e king i hi h mi hael tak ell -b mg. h ir relati n hip b gm t n m tran p ed int a m r P nn g t fir d in th parking I t n her la t da be re hri tma . nd , ju t a ther famili al n . f t n11in ati n: !l argi in g II' " r tir mcnt. '' th re are thr e different v r i n t tt ' r a on . Wh n Margi a k bb · and th e" ffi ial" er i n, h th r Penn had th a , ''I'm afraid it ' a bit m r v r i n , and the p1 in tituti nal rem arne icknc ri u th an th at" 5 1). mi hac I d hi ch tin a Mr. n cit a hea lth ingell , tin on n t b li e e eith er fth de further und rmine hi ability t tru t th e ch ince the a] f b th teacher di rupt th e ital attachment b nd he ha fo m1ed. Hi di appointment ver th e lo of an attachm ent that he had 1 ng been raving [! r, manife t in di tru t. v nth ugh thi mark th e end of Penn y' influ enc a th eir teach r, mi hae l and Netti e continue to ecretl y ee her and her hu band at their home, thereby furth erin g the tran po ition fr m an educational into a famili al tucture. The ingletons treat th em like adults and encourage them to talk about whatever they would like, ex includ ed. Eventu all y, mi cha I and etti e are invited over to Penn y' place fo r a graduati n party, but at thi point mi cha el i suffi cientl y confused about their relati on hip and doe not want to go. Netti e bowed him the child pon1 ph to , he becom su plciou ince f adult . He begin to qu estion what John and Penny get out of the relation hip and hi in ecuriti e ov r hi ad le cence com e to the forefront f hi mind . Ironicall y, it i at th menti on of a graduati n Pari mmg [ g ritual ( nd hi h et e a a r m n that th ab ut ad 1 an i ti fram h r , tti 1 di mi m1 hael make up ali ll1 I l ld h r th bi gg 1 n urfa hi h a 45 d p rat ly want ) tti . Ha in g I ittle in ight inl mi ha I' mind e f hi anxr t and r th r than c ming 1 an with h r, rd r t tr l g t ut f g ing t th pati : t Ii I uld think f. I m 1 that I d n ' t tru t adult mu h nd , I m an , it ' b n b th erin g 111 id , " W II I gue what' r all bu gg in g k d at th ur dad' tuff in tud . 111u h I'm b ginn in g t \ nd r if Mr. in g II' a hild 111 le t r aft r all. " ( 5) Yet, th re 1 a but h hid d f truth in thi ·I i ·; m i ha I r all y is an i u ab ut attending th 1 a1iy, it fr m tti becau th ir relati child pom phot th incid ent ith the child p rn ph t ha de tabilized ut · at him but micha l ay that he i un ure f whether th e ar pi iti ve r n t. Then h w nder wheth er Penn y, J hn and ingcll could actually be inv lved in a p rn ring. Hi anx ieti e get mi xed up with hi li e ( elfdec ption) and h find him elf ven m r confu d than bcfl re. There i no way th at can help michael with ut hi c ming clea n t her. uncertain of wheth r michael beli eve in hi li e fter all , etti e etti e her If claim that he i r n t (160). H wever, their relati n hip i strained and the proceeding ilence at lea t indi ca te tha t they both retain om uncertainty about the e new experi ence . They nd up attendin g th e party, but mi cha 1· mi tru t do Netti e are presented with prizes for their vid eo , he again become not abate. Wh en h and u pictou becau e h believes it is unfair for their video to be j ud ged aga in t th e r t of th e cia · un dited n ]mean, in a wa y we were told we' d w nth e thin g . But th ey we re pre ented to u like gift , ri ght? r maybe they were bribe to ke p u fro m bringing up the ing II P rt . I m an I affair. J h n tl d n ' t kn t With u that a had m r t d tti ith h wing him th ad nd ti a and th nn and J hn and th C ilur mil t n up n him . H nd up dit hing ith th e chang rna culinity for pe r appr [ ag ritu al. n y thi If fr m the and th r i n n t h lp ann t talk to hi m th er r i ter ( in ce th ey d e ret i it ), and h i up t ab ut the party. Thi i h w he b gin hi gh ch mg II nt, thu marking f th etti c in rd cr t di tance him him : he n I ng r tru t J hn and P nn y, h ab ut hi b hind th h turn d wn th pr nt d ) th rei n I gitimat adult figure, in hi mind , t c nfu ing itu ati n. H ha n id a h w t d al n t kn .( ith all th hat t think, He n 1 ng r tru t th m and hat J hn and P nny pr nfu i n than anything m id nt, mi ha I d e n t kn nd f hi relati n hip h r I wa a at a p int in m li.G n . a4 ett ie' rca ti n t hi an 1 ti ab ut 1: by tu rning t B bby and hegem mc al and ca maraderi at a time when hi life i getting increa ingJy complicated and when th r i littl e ertainty. Mr. Abbot michael' relation hip with hi teacher in hi gh chool i those with hi teacher in elementary chooJ, du e in part to hi lo y tern and in part t hi deci ion to acqu i t th ignificantl y different than f confidence in the tatu quo anyway. He look for anctuary in the hi gh chool cod e, which promote a masculinity that di regard choo l work and enforce heterononn ati vity. However, there i one teacher who i abl e to reach mi hael, albeit in a limited capacity: his ngli h teacher, Mrs. Abb t. Part ka 47 n da Mr . a ignm nt t la t him. bb t hand ba k the Ia ' p h an rea it ut t th gain the id a [ th cla a a pan pti n . Thr ugh ridi ul , th n gati rna ulin perf! rman e, adeptne (e p n m rg · h r thi tim , the f.G t i a n[i rm t th d minant hi h in lud the ual tr atm nt [ ch iall y in ngli h) gam r ridi ul fr m the Ia , b nn ll ("'Tea hin g th .G minine mi hael' gin tea ing at t g t mi hael t addre ed e . h lea tri n id red m r lw rk. Thu , hi u ngli h and ubject in the g ndered di i i n [lab ur, a y"2 17. fn e , th in id nt a fG t him . "Then. j u t a buzz r went. a Ia Language al la tr pit all of mi ha r attempt at h ' d fini hed with th e mm ent , th e I b It d. eft her tand ing th r with th a ignm nt in her hand . n loo k at h r. That hut th cia idn ' t up . ut I didn ' t ca re. I m an, it wa n thin g. It mea nt ab lutel n thin g t m ., ( 190). mi ha I' er-in i tence n th e fac t that the incid ent meant nothing indicate that he i trying t c nvince him lf. Yet, de pite hi uppo ed apath y, bbot' enc uragement i not impl di mi ed. When mi cha I' cla mate nominate him for valedi ctorian a a gag, he 1 t Mr . re onant fondn e bb t c nvince him to d it, perhap for ngli h and it capacity fl r expre io n or perhap him that she care . " he aid 1 wa one of th e few tudent in my cia ut [ m ince he howed who had anythin g to ay. he aid it was a good opportunity D r me to te ll th e choo l how I fe lt" (2 89). Forth peech michael hare hi fin al ver ion of th bull hit detector, which end up taking the hape of cr shair : thi i an intere ting ymb 1 to choo e, con id ti ng that michael thinks mo t of hi cla was expecting him to how up with an zi and ki ll teachers. He tell s everyone that the Bull hit Detector belong toe eryone (a coll me tive pr duct), and that they had om hand in creating it. Thu h put P nn y' earlier criti i m Part ka 4 t pra ti e. He figurati 1 turn the r hair n hi la mat ut a micha 1 t 11 u , th y d n t und r tand . Whil it w uld b diffi ult t argu e that mi ha 1 find any legitimat tran [! tmati n int adulth d fr m the e auth rity th fa t that h publici nt in light f hi di r gar fi r hi re e him lf h h 1' a m turati n n hi part. h in tituti nal t rminati n f hi atta hment fig ure and the inclu i n f ual lement int th hi erarchical relati n hip make mi ha 1 ary f t ach r and th y t m, and mi ha I" m ther i in r a ingl ab ent in hi life, michael tran ~ r th e 111 ignifi ance f attachm ent t hi p r . Thi i hi e p ri enc f hi gh h ne f th e pr d minant difference between 1 and that f el m ntary ch hildh od." Kathryn K rn di cu the p h I. In ' ttac hm nt in Middl e ibility f fi rming atta hm ent relati n hip t peopl other than par ntal fi gur : " lth ugh p r ma not fun cti n a full -il edg d attachment fi gure , childr n may metime direct attachm ent behavi ur to peer , particul arl y if par nt are un a ai!abl e.. ( 6 ). Yet mi chael i n t nece arily an excepti n 111 thi s. After all , high chool i typicall y a time when peer approva l becom important. Hence, the performance more and more f ma culinity and femininity by hi clas mate provid e a fruitful area fo r analy i . Whil e mi chae l' childh d take pi a e durin g th 1970 , The Pornographer 's Poem was published in 1999. As uch, the gend er roles exhibited within the novel are undo ubt dly fi ltered through tho e prevalent at the time of publication. In "Men Ma cui initie , and ex uali tie in duca ti n and oc iety: A a ll ·~ r vo luti n!" Dougla o e, citing Willi am Partyka 4 f ma ulinit 1 k d li e II r b hat appr priat p rii rman P lla k, de rib in the 19 b ar n urag d t b ured t a hi ta le ind p nd nt and n tatu d mman e, and p p rhap m t damaging f all , b urge er, t a u ha id ham at all pre i n f II ling or ar taught t inhibit n a "II minin " rr n er h w w akne ; boy armth , d p nd n e, and empath ; and finall ar d tru ti el the p int f nee, and ngag in ri k b ha i ur that c uld injur them elve th r - lik th 1r r t acti n m b li e e that they h uld a t ma h , e en t m del in p pul ar culture fr m wre tling, h ck y, and fo tball , and id e game . (n.pag. ) imil arl y 1it rature from th 7 , li ke Mi h I L wi and Ma r ha Weinraub ' " n gm ~ a rl y t e' r el pm ent " l nd p it ompara bl gend er r le II r b y within f 11h Ameri ca. Yet it i imp 11ant t n t that the ri gidity of th e gender n rm had already begun to di ipate in the 90 , and in it pi a ea r e ma culinity. In, Yo un Mas uliniti s: hat orn e ha nderstandin Boys in d emed a ' ri i ' in ontemporwy Society , t ph en Fro h interviewed a number of boy ab ut their relation hip to topi c like famil y, ma culinity, port and ethnicity. He argue that recent change in g nder relati on have created a situation in which a lack of obviou choice exi t . The change to th oc ial ord er, which have come from femini t criti ci m or qu eer tudi , for exampl e, ha e left boy uncertain about their social role (professional and personal), id entiti e and exualiti e , which, in the pa t, were clearer and more tri ctl y defin ed. Whil e the till ex i t, they are by no mean a old gender paradigm ocially ingrain ed nor n nn alized a th y u d to b . Thu , the avail ability f di fferent performa ti ve rn a culine tyle ha increa ed : Pati ka 50 Ifth r i u h a ri i , it pr umabl ha r al and ' ri , engag d in th pr there ar 1 arm d 1 and in mi h I un m d 1 ituat him furth er int a rtain a hi h th urr unding im g nt t i11 f rna culinity r c ntral rna culin r le her ther ar num er u c nfli cting m del t hi h f m culinit and thi appar nt ut h \\ t a t. Th ab n e f 11t 1 pm nt 1 n tru t i n i11 a an ti n d per[! rmanc ' ri i ' lea i 1phen m na ... It f t th pr du ti n fa p rall 1 d ntribut hu , th ten i t mar ng f rna culinit with a1 mg tatu e . till ther are e eral grand narrati ve ab ut rn a culinity, which micha 1 id 11tifie : rade eight. Y u ar nth b tt m. ike e ery b t-ca mp m bott m. You are green, y u are mall , y u ar hairl e m taboli m, childlike. I am p a king, of c ntra t i greate t [! r boy . M they' r not et ie I' e e r een. The fr m th e Ja he d wn. Your ur e, f the b y . f which 1 wa t f the girl , by then, are y ung women. ne. The nd if un g wo m n, th ey' rc pr tee ted by a yo un g wo man' indifference . (90) Thi i how michael perce i e hi choo l' ulture. tar athl ete , like Bobby and him , are protected by old er boy and are saved from the hara ment and tea ing experi enced by n nathl ete - provided of cour e, t at they II ll wed the cod : the ri ght clothe , the right way of pea king and th e ri ght a ciati on . Popul ar kid did not hang out with th e " lose r "and ''yo u made it clear that y ur af[i ction were toward the very be t-looking [girl ], if only to I t tho e protectin g yo u know th at yo u w re ju t like them" (81 ). Part ka 51 M a u/in E - mplar - Bobb mi ha I' d fri nd and [! 11 w t ammat , hildh rna ulin arch typ that mi ha 1d fin alt, emb di him If g in t. Whil th ti n di r putabl . Wh n mi ha 1 ft n find b k dt d th e d minant nd gr rib mg u , bby, mi ha 1 r pli e : alt. m t pr mtn nt D atur wa hi ja . lt j utt d. Wh n I fir t met him, ba kin kind rgart n, I a umed it a a birth d [! t. af£ tati n, a p int f d partur time. eah, a th e ball. " hate er bull hit h wa la ing n y u at th u c uld a that e erything ab ut hi . Th gu had an pm1 n n But he [! r nl later di I r aliz it wa an n incing, [ . . .] H er hin g- f whi ch he ~a le Robert " R d~ rd " alt c nt red ar und that jaw f a alway mi inD 1m d. d athl t , but he didn ' t play w II with ut ag i n," I b lie e. \\Ia th alt. lt b th red me th at p utin g rep rt n pi e th ught of him a my be t fri end. (3 ) m1 hael' allu i n to Robert Red£ rd and hi t r typicall y manl y H ll yw d jaw, p iti n Bobb y, in oppo ition to mi chael, a a con urn r and purveyor fa parti cul ar typ of ma cu1ine beauty: one a ociated b th with the ru gged sport man and with the hand ome movie actor. Thi ecti on will re lve it elf to nl y a bri ef menti n of p011 mce hapter 3 wi ll dea l with the topic in more detail , but it eem pertinent at 1 a t menti on athletic and competition here becau e of its large impact on th choo l' ial tru cture. Bobby and mi chael compete aga in t each ther often in the novel. They fi ght o er Randy obb and the Male Athlet of the Year indy arruther , ward . ve n though they ar not quite Partyka 52 fri nd teamrnat 0 uu dt b bag rd p u h a uy !" " Y u u ed t nd, micha 1 att mpt t IL u j u t d n ' t d th rna ulat u B bb d n t kn thing an m r d alling him gu h and bb h w t r p nd hi rna ulinit , a in g, " rt and tuff. P t1i ut [! r d, thi beha i ur i 1 am d fr m alr ad di and hat happ ned t him: Wh n mi ha " e ith ea h th r du t b ing pr fi i nt athl t iated ft n g t the u kn 'v\ , if h m 0 n Uo )o Defen i el ntim ntal. we hav ngl hang th u ject t m thing that r in[! rc u put a bag n K wa l huk · h ad, I'd fu k h r 1n a nd" ( )o n th r thing that di tingui h indy arruther i a I gend in bb fr m michael i hi relati n hip with girl rade Fi e n be[! re micha 1 r 0 bb y me t her. Whil e we are told that b th e e had a t d intere t in her, becau e f her cheerleading ca reer, Bobby let rum ur ab ut h r ob him 93) 0The go ip ab ut her wealth, beaut y, ch rl eading kill and all-a round d irabilit fe d in to Bobby' fa nta yoHe bee me ob e ed with getting a pi ture of her fr m the Jew i h tud ent who kn ow her, that he eventually throw a pi ec f sa lted pork through Hyman deli ver. Thi re ult in th chool h ting a Holoca u t a sembl y and in Bobb y making a publi c apology to the Jew i h kid the rumors con ume him. 0 oldi ' window wh n th ey do not While michael i al o int re ted in nee he get to know indy, he d e n t let indy, in th e fl e h, hi affection di ipate and he returns to thought ofN ettieoHe recognizes that the femininity whi ch ind y perpetuates i inh erentl y ti ed into the rn a culinity that he rej ect and that Bobby champion 0 In ther word , b th the hegemonic rna culinity and the hegemoni c femininity work t geth r t ub rdinate other non-normative perD rmanc of g nd r. Partyka Ma. u/in E In c ntr t m1 ha 1 find man p ith Rand imilariti a e n e [ ming and g ing in hi life. Rand ' 1 th r i hand hum ur and i u d t pe pl he lea e Rand t hi wn d ff and dri a a arning th m a ( 7). Yet, h dif~ r hi 1 mplar - Randy a id nt fr m the Wr ck ut m dud fr m mi ha I' fa th r b au e h trip . Ray dr p them h ha b en "la ing bad trip h ff nd n kid " till part f Rand ' li[i and p nl [! r him . t the nud b a h, Rand bring th that h had had a e ual n m re and m re r tle unter with h r. until he fr ak n r ati n ar und t t fi r t, Rand y pin a tall tale, making ut and tell Rand y t g fu k him elf. leave , Rand tell mi hae l th ·'r al" tor v. hi ch I ill di cu ecti on of thi chapt r. What i imp rtant i that mi chael i point. Thu , Rand y bee me a ind y, t lling th e b y bby nee B bby later in th p rn graph y till enti c d by ciat d with mi chae l' fee lin g towa rd ind y at thi ind y. Wh en mi chael goe to take a pi , h r c II ct Rand y" body in i id de tail and fa nta ize ab ut bein g Rand y with girl (e pecially etti e) and ab ut being with Rand y him elf. idea of being Rand y i mor xciting than thinking about girl , whi ch he ha been d in g mo t or mi chael, the of hi li fe. This homo exual fa nta y is a new directi on for him to exert hi libidinal energy; however when he returns, he ee Randy with Penny and John . eeing them make mi chae l's d rmant feelings of uncertainty and confu ion re urface, ince they end d their relationship without michael re lving hi c nfu ed fee ling . He nd up fi nd ing Bobby and sneaking away - dem n trating the ten ion pulling mi cha 1 b tween a afe though ri gid Part ka 54 h g m m rna culini t. and an un rtain n p t ntial. F minin , Exemplar - indy W had b n awar hur hill f arruther 1 m ntar - th fe dcr h 111 e rad 1 t Hamb r - that th rewa thi bea utiful 1mp e n e i t. ripti n ari ed, h we er, wa the rum r th t P int nl ind . W rd had tri kl cd in fr m ibJ hot it wa unlik ly h c uJd added t h r alu e. uJd b att nding ur ddin g t ur intri gue 1- n-t -be high ch re - b au e f it winning traditi n in ba kctball and , m t imp rtantl y, it number- n ranking a the che rl adin g ca pital f n b for they meet h r in hi gh h . ( 2) I, ind y arru th r p pul ar and ught aft r. h a rich, tall and thin che d eader with I ng bl nd e hair and blu e eye . Th e b y tim fanta izing ab ut her and trying t pend a long atch a glimp e of her. me mi chae l' hi gh Point Grey, i pred minantl y middl e-cia , indy' upper-cia h ol tatu endow her with ignifi cant social tanding and influ ence ( 149) . In light of the h gemony of a dichotomou gend ered di vi ion in mi hae l' could characteri ze the hegemoni c fe mininity of mi chae l' ch L one choo l th ro ugh co ntra t with th dominant and h g monic rn a culinity however, there are ev raJ r levant a pect of fe mininity whi ch hould be outlined here. Di cu in g th e entire choo l' parti cipati n in furthering the h gemonic gender perfom1ance , onnell argu that ''[ t]he cheerleader bee me models of de irability among th e girl , and their d irability further d fine the hi erarchy of rna culiniti e among th boy , ince onl y the m t e urely po itioned boy will P rt ka 5 " 2 J 7) . Th u , th h g m m ri k ridi ul b a king them [! r a dat " (' [! mininit i h 1 ri nt d beaut - ri nted and intrin i all r lat d t b m an imp rtant fi gur at the t p f thi a that h r 1 Park , th n tran [! r tud nt, aft r h ryl had a a izur in ind ' b r G rget th t tal judg m nt. Pur di gu t. her own imag and hi rar h . In ne pi n the fa t tra k t b c mmg art f tra iz d h r. 'T II n f [! ling c ncem , [! minin h ind judgment on her p er and thu d mi ha 1 ind ' inn r ir I ; h k n h n h ind y' he m d \A.- hen n n th Par h r I [i r ruining her part up1 the t p of th gr up . It wa her I' wellbeing, ch ol' r, ind ' c ncem for p pularity afG rd h r th e innu nee t pa he e izur d' ' Cl -~). In tead h r., ial tanding i m re imp rtant t her th an ca t h r ut f h r gr up . indy m nt, du t the Ili k nng fli ght , aA1 ind I k d d p rt , and she ial ocial hi erarchy. mi cha 1 recogmze that the e acti n compl em nt th e hegem nic rna culinit y, and thi contribut s to hi elf-exile. Fem inine Exemp lar - Nettie act a a[! il to ettie ind y. he take up a compl ex p iti on by chall nging g nd er parti cipation in port while adhering to the gend er- egregated pattern of chool ubj ect . Like michael ettie engage in a num er faction that are ntradictory to the performance of the hegemonic gender expectations, and she i oft n o tracized becau e of it. A we have already di cus ed, gender relati ns at thi tim were uch that boy and girl had to maintain their dif[i renee (G e, n.d.). l-Ienee, Netti ' ath letici m p iti on her out ide of the normative gender dich tomy. Thi di vergen e i also illu trated in the cene after ettie Part ka etti a k mi ha 1 hether h lik f hildr n. mi ha 1 th h when mi ha 1 t 11 h r that he nl like h r a a fri nd , h g t h ind aJTuth r i th girl -fri nd t pe, d n' t u're a I z. b mg nd ju t ind u?," t think that ditL hi h mi ha I repli rum ur" (7 ). him. , 'I d n' t think tti · an i ti e ab ut n a a 1 bian t m fr m imil ar h g m ni and h ter n rm ati e g nd er r le that micha el fa e fr m ngl h p r epti n h r i that th nOati n b tw en g nd r and ualit p iti n indi idu al Ke pin mind that n pea k, whil e h d n t acqui e c t th uality a well. The mu t e per er e in their n rmati e and attracti e g nd h m ngr and ha ti u think I'm a I L. Y u gu It ! a ; " Y u' r ju t lik th 8 bb h r, ut ual ri cntati n i e id ent her . hu ial percepti n [ th r e ual orientati on a le th an male/female. n ha m t ind y at thi p int: etti e i in-th e-Oe h, ind y i an thereal fa nta tti r ac ti on i ne f jeal u y, t whi ch mi chael act in a typi ca lly avo id ant manner. In fa t. mi chae l' be characteri z d b hat Zizek call " to ay that michael con tantly find urtl arl y relati on hip t N tti e an ·· in Th Metastases of E1~joym ~n t . hat i r create e cu e or barrier to prevent him fr m developing a healthy relation hip with evid ent in theca e f indy, [ etti e. Du e to hi ideali zati on of femininity, a etti e often fa il to measure up to hi ex pectati on . H r di vergence from the hegemonic femininity i one uch excu e or barri er. It i n t until michael experience the exce e of B bby' infatu ati on and th ruelty of ind y' action that michael come to recogni ze hi compl acency in the hegemoni c and oppr ive gen der reg1me. ind y's p iti on as "wo man a thin g" di integrate at the arne tim e a micha I' idealization f her. From there on out, michael c me to d fin e him elf largely by contra ting him elf with character like Bobby and indy, yet he i not xactl y ure what that dif~ rene Part ka 7 ttie till mi ha 1 dump h n the tali high h 1 b au thi r alizati n. Th in id nt at th graduati n part pr handl tti ' health d t ri rat ar later) , mi ha 1 int mu h D r mi ha 1 t be t hen he and mi ha 1 pa1i w a ing that h did n t i it h r b au etti , pr umabl y hen h . h n t tim h k fr m the h pital. Here, th interr ga t tti e i he felt guilt . inter.G r , ther b making i ibl m i ha I' t nu u g t angr t r ach n th ugh h ha fe ling .G r h r. and h aband n h r (tw t h ha n t Wh n the two make e c nta t, h kn aband ning h r, but th k heal pre ari u h alth that pr id eau that h ntro l cr hi tabl y, the int rr ga t r wn t tim n . mi ha 1 f hi guilt r hi inability t h lp h r. g ing t c nfr nt him ab ut tti e' let him kn w that they will rec ncil e. It i the impetu .G r their reuni n. They r n g ti at their friend hip at th Big c p and t p at the train trac k n th e wa y home. Both lo ati n are em ti nall y end wed landmark fo r mi chael and ctti e and they return to them m above r and ver durin g their r lati n hip. Like m i hae l' old r the garage, the e locati n re onate a fi xed p in t in a lo p ar und whi ch the change m michael' p r onality ar made vi ibl e. Her , the mo t apparent diffe rence i mi chae l' exual growth. They hav ex by the track and mi chael fl rmul ates the fir t prototype of the Bullshit Detector. Notabl y, hi vi sual repre entati on of th e detector re embl e Netti e· on which he ejaculat ar, duri g the act. Thi cum h t i signifi ant b cau e it di verge fro m a heterononnative sexuality. It fetishize a part of the body that ha been deformed (teratophilia) and i imil ar to the feti hization of amputation (acrot mophili a) in om niche pornography. gain we see michael di verg from n 1111ative tend to fo cu on who! , unbl emi hed, and photo hopped bodi e . ual practi ce , whi h Part ka h rtl after th ir r uni n mi h 1 ha the Kit part dr am in and d id fhi that h 10 ur b ha i ur trat gi ill il him lf ( 1 ut1h rm r , wh n ner hip pti n t que t ~ r a n w li ~ " ( 15 ). fter all , a up he n t re 1 e lik h r hi 10 curity plain ant t b entir ly al n . ' nd a if t p rhap get her upp rt - I repe t dl p int d ut that he ca m t m withdra a! trateg , that ping d clu i n and ina ti n. hi id critici m thr ugh tti t b th h n mi ha 1 d [ b i u 1 ). hi pr bl m . H d e n t tak r p n ibilit and think ; in t ad , he a ut ith the c nt nt. Hi inabilit t r a t i ake up du t n t b ing bl t indi ati hi h he lank a thee cepti n wh nit m n I wa counting n a an all y in my tt ie i mi ha I' m t imp rtant attac hm ent fi gure, e peciall y a he gr w m re and m re di tant fr m hi immedia te fami ly. In additi n t th ir hared pi ra t ry perience , michae l kn w etti e [! r m t [ hi life and he remain hi mo t ecure attac hm nt de pite their peri di e epara ti n. The incr a ingly ual natur their attachment. f their r Jati n hip a! o point t th e increa ing imp rtance f tti e, who rec gni ze mi cha I' n ed ~ r oth er atta hm ent a we ll, wa m michael again t ex iling him elf: ·' he told me that withdraV\ in g int my elf wa n t th e an wer, that I had to deal with my childhood before I could get any en e of who I wa and where I wa goin g" ( 15 ). Thi up et mi cha I, who hoped th at h would upport hi decision. As it tutn ut, ettie leave t go to cho 1 in th K and michaello e hi mam expl oratory attachn1ent and ecure ba e fi gure. Bitter at her depm1ure, he deci de to exi le him elf despite h r wa ming. However, before he leave , Netti e d e hel michael by gi mg him a present of the camera he received from John and Penn y and by telling him to go a artyka p rn and 1 am a ut him lf. id him ith am an p nd n ith ttie hil f nand with pr hall ng . an m1 ha I maintain hat upp rt h d h hu JT el pm nt during thi tim . ( 1 6- ). tarting t gu d in th n. Hi reading li t that i f th tit! that ear pn pe ifically wh r th p t h urg tter d urn nt hi t , N ttie ugge t th m all e, but e entu 11 t 11 him that h t fir t h tell m1 ha 1 t r ad H rman und lik a hipp a , and h pro id h mi ha I t I ok at Plat ' R J7uhli ·, t g t bani hed. Thi can b tak n a a hint fr m etti t t ke what micha I ne d fr m tran cend ntali m, but then t pr cccd t m r criti al av nu e th ught ab ut th rid . When he tum t phil ph y, he criti cize ci n ,'and tell micha It n t t g t t n her. michael m dem and po t-m dem p et like zra P und , harl art r. H nee micha I' int lie tual d attachment figur . W pm nt i [ carte and · Rati n I entuall y take t the ertrud e t in and till largely depend ent n ngela etti c a an ee how he tri e t pu h mi cha I t think m re and m re criti ca ll y about the world; howev r, the limited capacity and pr ximity f her attachment i n t ufficient to permanently k p michael fr m uccumbin g to lynn' influence. The Ia t not to make about tti e i in rega rd to her " L ve Li ght," a m i hael call it. In contra t to michael' Bull hit Detector Nettie' "Lo e Light" di arm other 'ho tility. Whi le michael ' Bull hit Detect r identifie in incerity, it d e n t provide him with a map for moving forward. He does n t know h w to interact with people VYho are "full of hit". Thu , michael often re ort to avoidance in rder t cope. remini cent of a tatt ettie call th tool tatic and : not at all like a poem. It i ju t a manife tati n/articu lation f michael ' criti ca l abi liti e , and even thou gh he ublimate hi e perienc and lc on into p rt k e f th diagram hi ral 0 mpl te r lian e n it and b li fin it 1 ad t hi d wnfall. Rohin n tti 1 a , michael· dru g d al r R bin tak fri nd . Initial! , he i ju t mi ha I' dru g d al r, but th aJt mati th ch to the rich hi gh I' h I cr d, in e he i a dr her pia a mi ha el' b t wly bee me fri nd . R bin i an ut and i p iti n d ut id [ ial ph r . He d al dru g , ft n thr ugh b ure trad e , and gives mi ha el a numb r f the item a gi ft . R bin intr du e mi ha 1 t an altern ati ve rna culin e life tyl . n of the m t n tabl e influ ence i th L u Reed album he ell him . L u Reed, [ c ur e, embJ emize the a ant ga rd e and altemati life tyle f e , drug and r ck and r II. R bin intr duce micha l int thi und rground rna culinity and even give mi chael a make ver. H tell michael that he c uld not af[i rd t I ok t o n rm al in th e p rnography bu in c Th ir relati n hip al o ha a e ual c mp n nt for orn e tim e, but mi ha el' participation i one of intrigu e more than attraction. The ex ual fanta ie that he ha with Randy materialize with Robin. nfortunateJy, Robin doe not mea ure up to the fanta ie michael ha created. As are ult, he think of etti e or Rand y when ha ing ex with him . When micha 1 ev ntuall y end the e ual a pect f the relation hip , Robin tell him that he i denying his homo exuality, thou gh mi chael i just imply n t attracted to him . However, they continue to be fri ends and it i Robin who ets michael up with creening of Th Famizy Dog and by xten ion Flynn. Their reJati n hip i e pi rat ry, at l a t for a while, Part ka 1 ut R bin ' Ia k f di app aran ntuall 1 ad t R bin ' n tr I and F I n n' i11 t r~ r 11 . Pool. id, lira tion n e that Rand t 11 micha l at Wr ck b lira lion. Rand ' fir t whil th e mi h 1, nd er 1 h b li ft r all , R nd li ure. of hi pre 1 u 1; it i p ibl , th n, that Randy li 11 G r abl t ' h k up ' ith tw girl creenpl ay, there i lik I t n that the a t b t impr me th e timuli [t r Poolsid h think th at Rand alth ugh h ha n ch ach b making fun n i th r al n , him ab ut why he g t ki cked ut ab ut hi e ual pr we Randy" ma culinit , e pe iall imulta11eou I . cau c micha I adapt th be a number f di ffere n f him , betw en hi v in ord er 111c h tory int a n and Rand y' The inten ogator n tably bring thi t hi attenti n: - Your mem r of Rand y' ry cin mati c. - Yeah. When he t ld u the tory I kept pi cturing it a a movie. I guc th at had orne bea ring n the way I remembered it. (10 1) Thu the proce at wo rk here is interpretative. ince mi chael tran po e the tory th r ugh his own len and into a di fferent form ( creenpl ay), the ver ion which he give th interrogators i undeniably filtered thr ugh the D rmallimitati n of the genre and through hi experiences. mi chael cla he with the interroga tor over th e xual nature of th fi lm. mi chael centre the acti on on Rand y a the exual bj ect of de ire, but the inteJTogator try to reframe hi s ex ua l fa11ta y within a hetero ual paradi gm. Fir t the a k why michael didn't fanta ize ab ut the girl , then they ugge t that michael impl y wa nted to role play a Randy Part ka 2 hile emg ith th girl . When mi ha 1 r in[! r that h ant d t with Rand a tti . H him If, th int IT gat r a k if mi ha : th Thu th re are mi ha 1 wh n bb 1 a th ne Rand t 11 n mi h 1 tum int a bb , th ay ye . n Rand y t 11 ript an the n int rpr t d by th intetT gat r . n fth mm nth m ment r hip/a pr nti that n f thi ry t hip . We are t ld that th girl p rD 1m the a t [! r ea h th r rather than [i r Rand . H j u t happ n t be alking by th ir pl ace, when h g t hij a ked. He i pi ck d m re nth qu alifica ti n [ ha ing time than anythin g el fr m the man peni and b ing in th right pl ace at th e right ft r all , Jenn y i fi ngeri ng att nti on i at lea t di id ed ( 111 ). Rand y be ind y whil he bl w Rand y, me an bject ~ r th e fulfi llm ent [ h r xual de ire. The tory pred minantly re ol e ar und the ld r Jenn y teaching th ey unger ab ut ex, and thi th mati c concern h w up in mi chae l' ve r i n f R ich Kid ind y an Bang a well. Rich Kid ang Bang After Netti e ugge t going to ee a porno, mi chael takes a trip to the Venu theatre. The experience compl etely change mi chael. He become unabl e to di fferentiate between what i happening on screen and what i happening in the theatre, a evid enced by the fragmentati on and amalgamation of nan ati ve level . Thi i after all one of the purp e of pornography: to titillate and evoke a phy ica l respon e. Yet, th e ffect on michael i verwhe1ming. He half hid e and half watche the man itting n t to him. the man ma turbate , the jiggling of the seat break the phy ical bani er betw en th m, and they end Part ka 6 u r pr lima ing at th in the pia ing ut f th t t pen1 e . h h t. edl t a thi 111 t d fth id nt mark a han g in m i hae l' rld . I th n t da , mi ha I b g m da dr am ar 1mp Iiant b au 1magm th e g irl ' muff: and th e g u th micha I radi all in ert th e tabli hed hi rarchi p w r t the marginaliz d kid . It al la m ark the fir tin tan e in whi h f hi th e gr und ch o l, ther by gi i11g r identi ai neighb rh ual rk ~ r hi later film Ri 'h Kid Ban (RK B), in whi h mi ha e l par die th e ulture f o n ne rg n e [ th n ni zati 11 [ eja ulati n p int t th a ti ntati 11 and th [the n r nth am tim a th f an an uve r' m r w althy d , haughn ie I e er w r te wa a par dy [ haughn an Ban and it wa r ally m an- pirited . I n u ed r y. I call ed it Rich Kid pie' real na me . All the p eopl e that pi ed m e ff: cia mate , teacher , n ighb r , whatever. f ur di tributor hat d it. Too mu ch di al gue, th ey ai d . ( 10) The d velopment f RK B can, c n equ entl y, be traced thr ugh beginning with Pool ide Attraction, hi day drea m , hi veral 'ver io n ·, ynop i , a r write by etti e, and finally a coopted ver ion by Flynn. mi c ha e l' treatment can th e re ~ re b interpreted thr ugh the reformulation of a numb er of experience /i dea /production . in e it build on hi previous film , RK B marks another ta ge in th e cyclical produ cti n of th e text. In the ri ginal ynopsi , a group of wealthy teenagers go camping in th e m o untain The guys are drunk and p e ter the girl into hav ing ex, during which the naiTative ~ !low the fanta ie of the un ati fied girls. ventuall y, orne logger (male and female) com along and decide t join in and "educate" th em . An o rgy en ue and th film e nd with th logg r Part ka 4 n them untaint p ( 1 ). Y t, th film g t and th t nager planting tre th ri ginal n p t • mi ha I tell u , " th main thing- th id a" 12 . th ment r hip th m . In fa t, th fth hi h tat p pulati n ame . That ' t part, th e id ea remain nl r a n that th n ir nm ental them dr 1 p d i ting in th m untain . addre 111g letter, 111 elL th e id a wa ba i all th cial tatu , g nd r r 1 an age r tri ti n i r tain d within the er i n . h critiqu e f b cau nd D r th ah , h t n thing lik etti ' reV\ rite, it i p rtin nt t t u h n th e d m graph er' that RK B i ul ar " in mall c II ge t f upper middl -cla n th at dra n large and are upp rt d by equ all y large w rking-cla p pu lati n " ( I I . Thu th e eparati n b t een blu e-co ll ar and whit -coll ar w rk r hi rarchi e are up t in e it i the I wer cia that m nt r and xual ati fac ti n t the upper cla . imultaneo u ly, th i enfi rce oc ia1 percepti n crucial h r . F r n , cla gtve that ee th lower cia e a le me of the ba ic c nari men and women a refin ed r cl er t ba e natural in tinct . mi chael utili ze of th p m graphi c g nre like th e comm n u e [ wo rking-cia t k fe ti hiz d fi gur in porn graphy. Men ft en appear a plumber , con truction worker , pizza delivery men, w imilarly appear a maid , cretari e , librari an , nannie , etc. wo uld be D .H. Lawrence' character m re literary exampl e li ve r Mell or in Lady Challerly ' Lover. Mel! r , who i a lower-clas gamekeeper, erve as a looking lifford d m n r ther blu e-co ll ar worker . W men xual rna culine t il t th wealthy and good hatterly, who i paralyzed, impotent and emotionall y neglectful. mi chael introduces yet another aspect of read y-made plot by inverting their power tructure . He attribute sexual knowledge to the 1 wer cl a , thereby giving them power ov r the prudi h Partyka 5 upper la . ltimat 1 , thi patt rn i r tain d and reiin during th n t tag f pr ducti n. In tr atm nt, a t nag b tti (thu r in~ r ing arruth r' h u he pu h ar r ugh and tactl e nd du and girl ar making ut n th c u h in tti ' di like f him ff. h r , th ind ; h tumbl 111 entu all , th all end up nth th girl gi ing ral pi a ur t the maid and th b The main theme that cen , and the d minance f r, th e n w ver i n di ffer becau e it i ualit i al an upper middl e- li ing r maintain the blu e- li ar white-coll ar cc n mi c di crepancy. lt al etti e with a way t cene nd with gi ing a bl wj b t ·the 1 lumb r (225 ). heter n rm ati e m. The change in m id e him with h r uch and th ha e id ntifi d are till pre ent in th up ct. H care n th plumber in th bathr him in tead . M an hil , th maid c m[i rt the b y and pr wn hand - n m nt ring. b indy tting rem et in e th e ec -criti al [! cu but pr vid e mi chael and ymb li call y chall eng th e h gem ni c [! mininity whi ch ind y emb die . La tl y, ince the film i made under th film co ll ecti e, the pr ducti n i coll aborative; etti e · dit are welc med by michael and R bin . Fly nn 's Rich Kid Gang Bang It i not until Robin bring Tanya and Fl ynn on b ard that the coll ecti ve begin to fa ll apa11 and that control over producti on begin to b con olidated by Flynn. A mi chael ay earlier in the noveL "It all co me down to property" (5 0). Rath er than lo ing contr I over meaning once the film i relea ed (a a product), mi chael l e control over them aning be[! re the film i even fini hed (during pr duction), and, with Fl ytu1, thi lo n t voluntary. The fir t indi cation of hi interfer nee ari of ontrol i when Flytm tell micha 1 that Part ka II " nergy away fr m riti al t the pti n f m i hael' When ettie I a t t , th r b a er hi rk." Fl nn tak d n' t ti mark th di i nt grati n f hi rk al and ard num r u pr fitabl e kit h fi lm . lnt re tingly, t and t ntr I m r and m re , mi ha apitul ating t rt m i ha I' tim p rati nan di tem fp rh wa bilit t pr him If. r th pr du ti n f hi ritiquing in th fir t pi a e. Hi i ur patt 111 , mbin d ith th illi it and e r ti e natur lynn g d, th riti al a pe t f hi film , all w him t b nc RK are I t and the m made quite dif~ r ntl ; mi ha 1r fer t thi a " tudi int rfe r n " (24 ). interD renee i fa r di ffe r nt th an Penn y' the ending a if h r tt i ' cri ti ci m; lyn n take 1e 1 tabl y, Flynn ' ver and change wn th e fi lm. He glam 1ize phy ical i I nee and tell micha I th at th e altem at "r ve ng p rn " endin g i big in th market. Thi dra tica ll y und enn ine th criti ca l a pect f mi ha I' idea, and mi chae l beli e e that it wa u ed ~ r th " fin al cut" with ut hi agreement. ga m, c nc 111 much like with th rumor UJTounding the auth r hip , riginality and legitimacy urface, un unding Penn y' and choo e to beli eve that hi ending i in gel l' t rmin atio n. Yet, mi chael till out there omewhere. Whil e he ha littl e co ntrol over the interpretati on of a text once it i the hand of the reader, he doe enjoy a ignifi ca nt amount of control over its production, that i , until Flynn interfere . Flynn ' altern ate endin g i ltimately, th ugh, even ubj ect to di ve r e interpretati on . Thi i why mi chae l i able to acce pt Flynn ' interference. He recogni ze th at Flynn cann ot co ntrol how viewer interpret the text once it i in their hand . Another intere ting a pect of the text i the name Ri h Kid even fit with the content of the film , unle ang Bang, which bar ly ne con id r orgy and gangbang to be Pariyka 7 r lik t maintain that an rg ha multipl n de , whil n nym u . I w uld h gangbang typically ha e a an n mit , in d name ar und 1 inn d b el pment and hang in d - thi m le elf-imag t d t th pr ta g n i t' pit th ntinuit ntent, mi hac l' film d n t han ge th ir titl e. What, th n, ur e f the n el, but rate th id a th t th int n ga ti n cann t end until r n , it c n th interr ga t r pin him d n until th name him). r an th r it highli ght the in e urity hen j u tap ed t hi di j in ted narra ti e. mi cha 1 fear being j ud ged y th authorit ; h n , hi an nymit 1 pr t t him elf fr m " \ hat min g nc, t" (6 u f narrati a ab ut th fa t that mi ha 1 hange thr ugh ut the r main unnam d . 5 f hi nn ntral n . hi di repan th ir name in the r dit r a mea n fa id an c. H li e and hid e in rd r t . F r e ampl e, michael and (the g by Henry Z. Mill ra nd Bet y ctti e d n t ick in t ad). mi hae l' ch i e f p eud nym ignal an id entifi ca ti n wi th the fam u auth r, wh e book were on deemed p m graphi and b cen . Whil e c ntemp rary cholar hip primaril y regard Mill er a a literary and inn Pr , In . V. G r tein b enity ruling, h wa ati e ocial criti c, e peciall y after th e rove nee impl y di mi ed a a purvey r f th e vul gar and ob cene. 6 For it time, hi writing wa incredibl y innova ti ve and ex perim ental, and this break with convention c ntributed largely to the publicati on ban on wo rk like Tropic of ancer, Trop ic of Capricorn and Quiet Day in lichy t name a few. Hi blurring of autobi ograph y and fi cti on reso nate with mi chae l' own project th ro ugh ut The Pornographer's Poem . Netti e' pse ud nym, on th e oth er hand , i more imil ar to th e eroti cized name 5 6 ft en cho n by p rn actre e with it id entifi cati on of the ma le anatomy; The iro ny of usi ng michae l a. a pl aceholde r here is not lost on me. In 1964, the U. . up re me ourt, in rove Press, In c. v. erstei n, overru led state couti findmg~ that Troptc of ancer was obsc ne. R V P ~ v. ~ R - IN , 78 U.. 577 ( 1964). Partyka and a it turn ut tti ' p ud n m 1 mu h m r fittin g t th kit h pr du t ut t b . hi indi at RK B entua ll tum influ n than i mi ha I, th r a n D r their p ud n m i n t th ir lent and und rgr und rna ulinit , i al that h n 1 1 u hi h f Fl nn him lf a riti 1 art.i t. ltimat 1 , h w n; their 1 f r th film , t a mad id nt in th ir 1 f er dit. r, Part k H PTER3 hi hapt r the r lati n hi bet e n mi ha I' di illu i nment with ill di u lf- heg m nic rna ulinit and hi il fr m f th athl tic regim . thi nth impli ati n rt , b Mi ha 1 M n r p int f ut in Pow rat Pia , th f p rt i ubiquit u in ther cultural d mam : inf1u en b gan t argue in th l 70 , th p rcepti n that p Iii m k th fac t that th th be n cl int Iiw in d ith d minant alue ep rat fr m nd truc ture f p rt ha alway ial alu e , p wer relati n , and c nf1i t b tween gr up and b tw en nati n . ( ) n urpri ingly, gend er i a] ti ed int d minant cial alu , p wer relati n and confli ct ; hence, the ne d [! r an int r ecti nal analy i . In ' cachin g th e inter ectionality in t rrn f g nd er r gime : " y ," nnell utlin e thi \ ith co rp rati n , w rkpl a e and th e tate, gend r i embedd ed in th in tituti nal aiTangem nt thr ugh whi ch a cho I fun cti n : divi i n of labour, authority pattem , and choo l' gender regime" ( on. Th t tality f th e e arrangement 1 a nn II 2 1 ). Thi interconnecti vity b come increa ingly important when an alyz in g mi chael' ca pi t b hav iour pattern . ince michael run from these power tru cture , ra th er th an chall engin g them, he becomes indirectl y compl acent in the tate f the panopti c gend er regime. A Me ner poi nt out, "[h]i torical analy e of port reveal that ruling group have haped and utili zed port to maintain control. But ubordinate group at tim e have al o u ed port to contc t that co ntrol " (1 0). Thu michael' s inaction all w the dominance of the heg moni c rna cu linity to continu e. In addition to taking thi s p iti n of e capi m, mi chael mi e out on orne of port' devel pmental promise - like hea lth, fitn e , tre manag ment, teamwork, work Part ka 70 thi nduran 1 ing, t n me a ~ and pr bl m r lati n hip t th br ad r w rld . H r p at dl [~ r d t him b in tituti n fp me m a ur mi ha 1 quit th m all and in t ad 1 k t I arn, film . nfl rtunatel , fl p iti fr m th ir anal g u hun the re p n ibilitie and b nefit r (lik hi famil f~ r him alth ugh fla ed, n - whi h ari hi 1and athl ti h f maturit , gr ), hi h, th and 1 arti ipati n. pl r and d ill thr ugh hi r 1 m del e i t fl r him t build ff, e p iall y in the en b th c mmuni t , hi famil y hi hi p r b ca u e f th ir illi it and p 1 n ture . hu , th c nn tati n f p rn graphy a methin g "hidd n" b me central. If rni hae l' fi lm ere t ha e any br ad ch 1n r p rn indu try. In additi n th film ar n t cia! impact or ignifi can e, the w ul d fir t ha e t ha e been een; they w uld have had t b i ibl t th br ader rid incl ud ing hi p er m rder t engag in any ignifi cant critici m r di cour e. Thi i why mi chael ay that me f hi m one where he wa abl e t e amin e th audi n Fergu on argu t fruitful creening , we re the ' rea ti n. The p rn graphic tex t i , a a panopticon, and th e audi ence' reaction help michae l ga uge h w the f ma culinity and broader world va lue the r pre ntati n of certain performance exuality. Before I addre mi chae l' te t th ough, I wo ul d like to di us mi chae l' initi ati n into p011s. According to Me sner, family members (typicall y old r br ther or unci ) are u ually the fir t to introduce children to athl tic experi ence (26). ince, howe er, there i no relati onship of thi 011 in hi life, mi chael reli es more on hi coa h and teamm ate for thi guidance. Thi is important, because, a Me ner argue , p rt erve a role beyond a purely entertaining one: "modern soc ieti e lac k the ma culine initi ati on ritu al which o often characterize tribal ieti e . A a re ult [ ... ] t day' m n are c nfu ed about \vhat it mean to Part ka71 b a man, and th ub titut [! r find in athl ti an inad quat but n u h initiati n ritual " 7- ) . H n , mi ha 1 r li ju t [i r athl ti m nt r hip but al [i r rna alient, rthel h a il uline m nt r hip . lt i unp rtant t n te that n e. Me hu , whil they a c mmg f age ( [i r a m u1ti tu d rna fi gure n t nth ritual 11 ( n id r th ag I kill I el c mm n f p rt ). Th e p int i n t f g nd r r gime ha hanged dramati all Thi y temi chang , n t t menti n th legi lati n like it! 1 in th . 7 In 1n Me n r hange in anada ial per epti n, i largely enD reed by ecti n Fift reed m i pr d minantl re p n ible [i r gend er quity in the national organizati n anadian ( ciati n D r A W ) argue that m r I gi lati n like itl e I Pow ,,. at Play wa publi h d. hart r fRight and anada, th ugh m criti c like dvancemcnt of W men and p rt i needed pecifi ca ll y to addre p rt and athletic . With fundamental ca e lik Blainey 1' 1 ue 111 ntario Hockey Association (19 6), it ha b c m and i bee ming more common/nonnalized D r women t parti cipate in port ; and a are ult, it i becoming increa ingly imp rtant to rec gnize the r le of p rt in women's devel pm ent a we ll. Thi empha iz the need to con id er p rt in m re nuanced ways, and it hi ghlight the imp rtance of not univer alizing certain a pect by claiming that port create violent or aggre ive rna culinity in general. In "Teaching the Boy ," on nell point out that not everyone fit into th prefabricated pattern crea ted by port : 7 o person in the nited tate hall , on the ba i f ex, bee ·elud ed from participation in , be deni ed th e benefits of, or be subject d to di "criminati n under any education program r a tJVJty receiVIng Federal financial assi lan ce" (Title IX, .. Departm ent f du ati on) . " Patiyka 72 g1 al r rt ha ar h n rganizati nall b th tru tur h nh an aggre f rgamz d p rt b it p tt m rar h tem f tr mmg, al b indi idu al fit ery imp r~ tl int n und ubt dl p rt an t uni er aliz thi pattern . .g., amat ur parti ul ar 1 urrent trend In t r thi in th mpetiti n, it f thi p 1i m d ia th ugh m r ated. (2 ~ f rd . Image f 1 el and r ma ulinit are ir ulat d n an n Thu , whil e rna ulinit i t ) rt f ma ulinit , it i 1m1 rtant n t di f~ r nee betw n parti ul ar p rt , . pr fe i nal), parti ul ar indi idu al and parti ul ar m dia. ch lar hip n p Ji m di a r n ct p rna culinity. In Media port tar. , t tru tu ral tr nd in th tud y of ary Whannel point t the deccntraliza ti n f p rt medi a contr 1: It i n t w rthy that ne maJ r 1 u triggered by th gr wth f th e intern et i that it enabl e e hange between u r that are hard [! r any p wert m nit r r c ntr 1. Ju t a the i u of th power f th medi a i u uall y c nn ected t th e threa t it p e to other po e r of power, it i al o theca e that the medi a ffer an ea y capegoat that ca n be bl amed for probl em who e rea l ca u e are more deep-r oted, perva ive and hard er to addre . (3) Whannel maintain that it i imperati ve t con ider how the tru ture and pattern of port are ymptomati c of broader ocio-cultural practi ce . Thu , my view of port take into account its inherentl y competiti ve nature. It also nece sitate the c n ideration of the difference between ho tile and in trumental aggre ion. Tim I pr ce d with a ituational approach here a well. Part ka 7 In rd r t und r tand th mi ha 1, it i tmp rtant t anal z th parti ular Th h fb [hi ache n high-pr fil e b r pr entati t am an be imp rtant fi gur i al educati n tea h r ha Ph ntributi n [ u ing th in flu nee tmp rtance f di fprt , a rganizati nal tru tur p n en d by nn 11 n t h. the p rt in a hi gh an ccup ati 11al cultur that[ ... J c nt r h I. na n enti nalma ulinit ' that i ' 11 t nl d mi11ant but 11eutraliz d a natural and g d, part f th pected and unqu ti ned natur f thing ." ("T a hin g th B 21 ) H w ver, it i 1mp rtant t n t that n t all p rpetu ating th ee act am limit , and the e differ n a h r oc up ati nal culture are c mpli cit in rt f ma ulinity. lndi idu al tyl are crucial t a c nt can dif~ r, within certain tu al und er tanding f the e culture . 11n 11, though indire tl y, a know! dge thi : " end r reg ime differ between ch though within limit I, et by th br ader culture and the c n traint of th e I cal edu ca ti n y t m" (2 13). Pr ceedin g fr m thi idea. an anaiJ i of mi chae l' e peri nee of athl eti c and it gend er conditi ning i depend ent on an analy i f hi r lati on hip with hi ch ol, hi coaches and hi peer . Longley When mi chael tarts high choo l, he initially look up t Long! y. He i c ntent t acqui e ce to the tatu quo and Longley erve a a role mod el for him. Yet, ev n then, michael notice the fir t few trac f L ngley' cru elty. For exampl e, mi chael recall a parti cul ar ph y ical hyg iene cia in whi ch ongley i le turin g about ac ne. " Half\\ 3) through Part ka 74 rambl , 8 bb ngl alt rai ed hi hand and a k d - in that fak what hawna K wal huk had all a I turin g ha na b ith ut th u r h r fa ' li 111g 111 i n ta ecurit in ing t an h relati n hip with ventuall I and int ra tin g bby nd in the fa ith a new h n h re.G r t him a f the in ecurity r a ted by h rt at the m tim that hi tti , the ingl t n and hi famil i deteriorating. mi cha I ta11 t fr m orga nized p rt a It g p 11 team . f hi - if ngl y, wh ngl ngl y a he i later n and prai a t thi p int in hi li.G , micha 1 find ample". ritical f an idi t. p rt m a a n vul gari . h idi t ual aid , lit up" (1 2 1 .8 Mr. f arn t uring lunch ne day, e thr ugh ngle~ ' faction a ti n and b g111 t withdraw me t a h ad after he quit the ngley ca t he michael n hi way h m . L ngley begin to in ult mi ha 1 in fr nt f the other tud ent by chall enging hi rn a culinity and exuality. L ngley tell them that mi cha J w uld rather writ p em than pl ay p rt . Thi refl ct nn e II ' ngli h i ituated a a feminine perfi rmance (2 17) . b ervation f the gendered di vi ion of di ciplin e , in whi ch adeptne m we have already e tabli hed, thi incident teache michael thi ema culating b havi ur, which he then u e on Bobb y and arl later on. In additi n to this emotional abu , L ngley prevent mi cha I from gettin g away. He brings hi fi t togeth rand boxe him in the ears.9 He then wink at michael, ca ll him a "faggot" and walk away ( 180) . mi chael turns aro und and almly walk home de pite the tare and munnurs of his peer . The incident dem nstrates the heg moni c nature f Longley' ma culinity, which cannot tol erate d viation. ln Lon gley' eye , real men do not 8 9 hi s i, the same girl that B bby ays he wou ld ruck with a paper bag on her head . Not1ce the simil arity to lynn boxing him in the ea rs when mi cha I tn es to qUit Flynnsk yn (273 ). Part ka 75 h u e h m ph bi and d r gat r term like " fa gg t" t quit p rt · h n m ulate mt ha 1. Wh n mi h 1atTi e h me aft r th m id nt, h g and cri b . It i int r ting that h ngl y, a n lf- nt n him If t thi hi r t e the garag aft r h i r pr a h d pa h r mi ha 1 w uld al admir d fi gure f auth rit , b g ft r g tting baked and trying t wait [! r puni hment fr m hi fath r a a hild . un u e full t rn a turbat t ma u tl r h find hi m th er' Pia girl magazine and rga m t a pi cture f a bl nd e gu in hi t enti e wh i p in g with hi m t r y 1 . He ha tan lin and re embl the ali[! rni a typ f male, ab ut wh m micha 1 repeatedl y fanta ize . ignifi anti , Rand , Kai and l nn all hare imil ar phy ical charac teri ti c ; micha 1 bb . 8 rn a turba tin g t hi m th r' nn a a full -gr wn Randy Pl aygirl , h uall y and ym b lica ll y re i t the het r n rma ti ve e uality th at L ngley att mpt to enD rce and naturalize. ince L ngley mak and inc mich ae l' percepti n of h mo hi loyalty to Mr. ingell h uality i thi rt f rna culinity un appea ling till generall y p iti ve , a ev id enced by abl e to find exual gratificati n thi way. mi chael repea tedl y tum to relation hip with the e character after peri od of ignifi cant alienati on. He tum to Kai when he i alienated by hi famil y, he turn to Rand y ut f contra t with hi other cla smate , and he turns to Flynn when he quit port and when etti e leave . on idering the attitude prevalent in mi chae l' previou experi ences of chool, including the racial attitude toward Penn y and the homophobi c attitud es toward ingell , it i not entirely surpri ing that Longley' hara ment of mi chael g e unaddre ed. Neither mi chael nor any of the tudent complain . Thu , th e choo l culture and mi chael' a\ oidan ce allow Longley' acti on to become part of th " unque ti oned nature f thin g :· Part ka 7 nn 11 argue that p rt rep li ate di u heg m ny thr ugh th u e f p n um r ultur ' er ymb 1izati n and em ti n . ~ ut1h rm r , thi hegem ny manifl t it If in the br f ch d r . .. n t n1 the G tball t am but th h a well : 1 p pulati n a a 1 brati nand repr du ti n f th d minant c de h J u e th gam G r f g nd r. h game directl y d fin e a pattern f aggre i e and d min ating p r[i rma nce a th m f rna culinit , and indirect! marginalize t admired G rm ther . The ch erl ader b me m del f de irabilit am ng the girl , and their de irability furth er defin e the hi erarchy f rna uliniti e am ng the b y , ince nl y the m t ecurely p itioned b y will ri k ridi ul e by a king th m C r a date. (2 1 ) Whil e mmell d e n t pe ify wh in pa11i ul ar admire thi G rm f rna culinity, my analysi will predominantl y foll ow nn II' appr ac h by pay in g du e att nti n t h w the larger cho 1 p pul ati n ontribut th e hegemoni c ma ulinity enc untered by mi chael. Bobby and indy As a child , mi cha el i a budding athlete; he and Bobby are tar teammate , and th eir a ociation fos ter a publi c perception of them as fri end - one whi ch michael eventu all y di sdain yet reluctantl y maintains £ r several rea on : both mi chael and Bobby fit into the dominant performance of the gender regim e Uock) and , a noted in th e previous chap ter, both wo ul d be ' pro tected' by the old er boys if they performed the hegemoni c fo rm ofma culinity (9 1). o, th eir " fri end hip," whi ch i charac teri zed by what David Ri e man call "antago ni tic c perati n" (qtd . in M n r 88), continu e de pit their growing p r onal Partyka 77 dif[i ren e . h mp ti ne b tw imilarl t the mp ti n with hi n a' inatall lf-pr th win. Thu , th p high ch n ;ak 1: th Male c mpetiti r hi m th r ' attenti n. rt f thi pla imp rtan mpetiti k p them fr m [! rming a la ting b nd - inning f the main er e rything el e in rvati n cam arad ri and p 11 man hip all fall ictim t the pur uit f ibi1it f de 1 ping a fri nd hip i undcrmin d by e amp! f thi center ar und th pr d minant tatu thl te f th e r bb ' ymb 1 f their ard . Thi reward enco urag per[! rm n , whi h 1 ad mi ha 1 t gr w di illu i ned. He tart t refer t ba ketball a bidd ball in relati n t bb a he think hi attitud e i juvenil e (7). hu mi chael bee me di illu i ned wi th p rt and retr at int hi point the tw n mbardi and d fin d by mbard ian eth i - n med aft r [! r thi rea n th t elf-imp ed e il e at whi ch r gul ar co ntact. It i thi unfett red c mp titi n (a win at all c t attitud e) and not competition in g neral that i parti ul arl y probl ematic here. A a c mpl ement to Bobby, within a male-female di ch t my, ind y emb di e th e hegemonic female gend er rol e in the ch ol. he i the tar cheerl ead r and aspire t be desired by the b y . !though ' p pul ar' girl do not pl ay port , cheerl eading i intrin icall y related to upp rting and pre erving the port y tern in pl ace. n urpri ingly, B bb y i drawn toward her and fanta ize about her to the point of b e ion. A menti oned before, michael also cha e aft r indy, but stop when he tart to rec gni ze the complicity of her acti on within the gender regime. Partyka 7 aunt r - Rand and bby Rand i an ad pt athl te, but h bring a c mpl et ly dif[i r nt imilarly t attitud IIi p rt and mpetiti n : lth ugh relu tant t pla p rt , Rand w a a natural. Thi mad him ol. 1 ry lik d hi attitud . I lik d th wa he w uld ca uall y r mind u - right in the middl a gam pe pie f th e a n bu ine m n Rand y mp titi m id n c , h h n rve a a tr ng [! il t antith eti cal. H nature f p rt , h w th upi e a co111pl it n p rt and y un g a 111 ant t c nditi n u , tum u int gr dy ld r. ( 5) bb y and e111b di e a umqu rn a c ulinity that i n t impl y p iti n between athl eti c i 111 and c yni ci m , whi c h n ith r co mpl ete! und rmine p wer tru ctur re111ov 111pha i nor c 1 brate th em . Whil e he per nall y imp rtance from th e gam e and e pre e thi t hi tea m m ate , th ey d n t necessarily har hi mind et. Rand y m aintain th e am attitud e t ward girl a he d e toward po11 and famil y. Wh en B bb y purp rtedl y tart a rum ur to qu II Rand y' popul arity w ith the g irl , R and y doe no thin g t di prove it. H e n at by w itho ut rea ll y gettin g too attach ed to an ything or an yon e. The dow n ide to thi , a covered in th e previou chapter, is that lot of people com e and go in hi li fe . Y et, R and y i no t a nihili t; he take pleasure in what i in front of him. That i w hy mi chael and Bo bb y are both attra ted t R and y, and there i a good deal of competiti n for hi fri end hip . H owever, like mi chae l' other relationship , thi s one doe not last. ince R and y i habitu ated to people pa ing through his life, he does not m ake any att mpt t keep in to u h . Y et, fo r mi cha l, Randy occupi e the 111aj r altern ati ve to the hegemoni c m a culin e po r1 r le m odel. f Partyka 7 imilarly nlik up1 ttie a mple p iti n ut id n t h rlead · rath r, h i a kill d athl t . h indy, h d pattern ffeminine adeptne 1 ubj ect lik in ch 1 in th e ubj and chall ng upp rt that mi chael him · h take charg hu uppli d hi ch etti e pu he f devel ping th ir r lati n hip, he up t herr le a hi and h di tance him elf fi· m her ut heg m nic rn a ulinit but di lane t and rej ct th h g m ni rna culinity a w 11. perhap fa ter than michael i r ad y [! r. ba till D 11 w th ngli hand oth r art h r elf fr m th p pular girl . In fa t, it i larg I thr ugh mi ha el' b undari f th h g m ni D mininity. n f hi ecur curity in th e I' gend r r gime, p rt includ ed. Wh n mi hael ventuall y reject the ecurit y f thi rn a culinity and reali c that he ve h r, it i t late: tti e leave for ngland and mi chael withdraw into hi elf-ex il etti continue to upport michael in letter fr m abroad. he tell mi chael that h is pr ud of him for turning down the Grade Ten Male that he valu thl ete of the Year Awa rd (1 35), whi ch how his r j ecti on of th hegem ni c gender regime. H wever, N tti e d e n t upport hi withdrawal. he know that thi retreat i tifl ing hi developm ent. Alternatives: Competition utsid e of ports F~vnn Flynn i a local dru g dealer, pimp and criminal. He is a prime pecimen of a cri mina l and violent masculinity. According to michael," ve rythin g th at happened n Davie tre the had a piece of. Drug , hooking, loan , protecti on - yo u name it. Fl ynn wa hu ge" (237). At first, mi chael and Netti e b th admire him becau e of hi chari rn a and the danger that urround him . H weve r, they fail to ee th ro ugh hi ac t and ve n mi chae l" Bul l hit Partyka 0 Dete t r i £ 1 d. By th tim michael e wh r micha lli micha 1 kn 1 nn £ r what h i , it i t lat . lynn kn w and ke p him und r hi thumb thr ugh phy i al vi len e and thr at . that h cann t ap anym r . With ut hi main o ing me hani m, and with ut any tr ng attachment figure 1 ft, mi ha 1 capitulat . Henc , hi t nd ncy [! r av idan e make him u ptibl e t mp titi n fr m th er . ir t, mi ha I' attrac ti n t and id lizati n of ~ I nn in additi n t mi hae l' un pre ent him fr m reacting indica ti rtaint ab ut hi hen Flynn int rje t in th ir relati n hip . fa n n-c mp titi ttitud , g t ward etti e t, R bin, wh mi ing, and whil mi chael u pect that lynn i b hind it, h continu e t w rk [! r him nyway. 10 michael d vel p a d pend ncy n Flynn b au h ha no n e to turn t . Thu , m1 ha I' eventu al co pti on by lynn i £ reshadowed by a h f the e point . T be clear, th ugh, mi chael i n t with ut agency. He make deci i n at very t p that enab1 lynn to ize m re and more c ntrol. He continu e on hi patt m of avoidance, and ventu alJ y reache a p int where he ca n no longer run away. Due to Fl ynn ' conn ecti n to Kai, mi chae l know that he cannot run away; Kai know where he and hi famil y live. Thu , mi chael run out of opti n . michael first m et Flynn when he unexpectedl y intelTUpt theca tin g of RKGB . The narrative mod e transfmm into a creenpl ay du ring the ca ting but return to pro when Flynn arrives, thereby ignifying not ju t Flynn ' interrupti on of the scene but a! o of the fonn of mi chae l's te tim ony. Th e eve nt fore hadows th e eventual interference of mi chae l' producti ons and demon trate 111 ichae l' s recogniti on of Flynn ' dominance. When he enter , Flynn 's greeting replicate a conventional cia sroom c ne: "The ofa laughed. 'Hello 10 Robin often takes trade instead of payments for drugs . He is no t in the drug bu , ines. to get nch , and ne1ther is michael. After all , michael confe. es that h buries the money he makes near the train tracks (205), and he values the lessons he learns more than the money he earns. He sa) , " In ma ny ways the e sc reening , er the most use ful to me in th at I learned a lot about th e male pe ie "(2 15). Partyka 1 I nn,' the aid in uni r ak d, ' Wh - h II m i ha I n n. I nn ' r p n e . nd childr n " (2 7) . Th j ta Ig ia [! r th fir t d a her . 1ynn ha all th e1 p a fal en f curity e hari ma f ft r all, I nn ' phy ical rm tac imilar t th Playgirl m d 1 that mi ha 1 m a turbate t . mi hae1 d ld lad , h ik a h du ti n trigg r ial natur in P n n ' J hn and P nny. m1 ha 1 tell u that h ' d n type i ut f n , it i n t urpri ing that n th ugh , ace rdin g t hi wn te tim n y, there wa mu ch uncertainty and dang r urr unding lynn : If I a to ha zard a gu at Fl nn ' age, I w u ld a he w a pr babl y late- tw enti e . But like o m an y thing ab ut lynn, it wa imp w hat wa go ing n w ith thi gu y. ible t ay. Y u ju t didn ' t kn o w nd any tim e y u th ught yo u knew , h ew uld totally pr ve you wro ng, a if h e aw it all co ming, a if hew r ettin g y u up ju t t r the fun , ju t t r o m thing to do . I m ean - I c uld g ive yo u exam pi . But th ere were ju t too man y. uffi ce it to ay, yo u could nev r und ere tim a te thi s lynn . Everywhere he w ent h d emand ed re p ect. A nd he go t it. (237) mi cha el align s him elf w ith Flynn, a he mi p erceive him to be a g od altern ati ve to th hegemoni c ma culiniti e he has encountered o far. T he danger that Flynn repre ent i initially attractive to mich ael; it is a rebellious infatu ati on . Flynn admits to hi dan gerou activities; however, he tri es to ga in mi c ha e l' acce ptance by justifyin g hi acti on . H e continu ally tells michael to cut what he hears abo ut him in h alf. H e tells mi chael that p eople exaggerate hi crime to m ake him seem worse than he i , and mi chael beli ve him . Though sceptica l at first, mi chae l' and N tti e' attraction to him allay the ir u p i c ion . Thi mark th e fa ilure of mi cha e l' bull shit d tector, whi ch N tti e had in fac t predi cted earlier in th e novel. A m entioned earli er, th e pro bl em with th e t o lli e in mi c hae l' compl eter li an e on Partyka 2 it, becau hu it pr nt him fr m thinking riti ally ab ut ~ l nn and the an wer h g1 e . lynn ' rati nalizati n fhi a tin fallthr ughth imitating a pe t nn p r na (lik hi fanta iz ab ut b c mmg lynn when h ha r Rand mi ha 1 find th nfid n e t take Flynn, he fin all find en ugh c nfid n nfortunat ly, thi p ch and Fl nn o pti n f m i with During the h acr etti e. far a t patt n1 i thu cr ated mce ' per rmin g' th r charact r like lynn ntr I over erwhelming itu ati n . With t ha e anal e with tti e with ut hurting h r. ual r 1 pl ay h w mi hae l" deG r nee t Fl nn ' ly tak I.H d h pping g ture) and he imilarly r 1 pl ay Randy earli r in the n h fmicha I' t hat hi pa t i like. mi ha 1 b gm ming fr m r n t real! kn w ra k upcri rity, er thereafter. ting f RK B, mi hael think h ee Flynn bea ting Tanya fr m the treet, but, by the time he g t back t th apartment, anya i in th e bathr m r appl ying makeup . mi chael claim that he i un ure if he actu all y aw him bea ting her and ince there i n tape in hi cam ra, he cannot prove anything. nee at home, etti e tell mi chael ab ut a ' dream ' he had at the apartment. In it, Flynn exuall y abu e etti e and even thou gh he tell michael it wa a dream, he i n t entirely certain about what happened. Like all other dream in the novel, which co nden e and di pl ace trauma or anx i ty, thi epi ode erves a a point of interpretive contenti on, wherein multipl e interpretati on ari e. Both mi chael and Nettie remain uncertain about what happened and th po ibility that he wa abused remains. In addition, there i littl e proof of Flynn ' acti on be ide mi ha I" claim that he me II lynn ' co logne coming from tti ' a era k when he lean ove r (hardl y admi s ibl e ev id ence). Thi in id ent change Netti e' mind ab ut Flynn : h warn michael to stay away fro m him (258) . But the nex t morning etti - leave th ountr aga in, Partyka and mi hael i 1 ft nl with lynn. In her final! tt r t mi ha 1, m nti n that h i d ing w kn w thi i untru . ay that h i glad mi chael ha dr pp d t thi p int mi ha 1 b 1i that etti ha tti ( h d e n t nn and anya ; th ugh tint r tin him ( 0 ). nn at R bin ' t di hi h he get dru gg d b R bin t 11 mi ha 1 ab ut hi that he want d in u th ir bu ine , h ha a dream in hapt r I . h n, at R bin ' apartm nt, ame r bl m and ab ut h w l ynn b at him . R bin ay ut and th t h w nt t g ba k to j u t ell ing h h and making m wh n lynn h w up , R bin wer and retrea t t hi b dr t t 11 lynn that h i quitting, but I nn ha ie , but m (26 ). micha 1 al want th er plan . He tell mi chael th at c llecti ve d not w rk and that h want mi hael t b c m hi in-h u direct r. Flynn pull with hi bu ine f ' th talent ·. a h mall ph t plan and a ph t album with hea d h ut a bind er ha about a on hundred w rd bi ography n the back. It frightened me that Fl ynn knew much about the e peopl e. till , it wa n wher near a fri ght ning a hi tiny writing. I remember eeing a bl ow- up o f th e L rd ' Prayer once n a postag tamp . I think it wa in RtjJ!ey 's Believe It or ot. Wh y would anybody do that? I th ught. I wa haunted by that for a long, long tim e. (272) P rhaps it is the reduction of indi vidu al t a mall bio and a picture th at di turb michael. It i a if Flynn ha each of th ese peo pl e · in hi pocket' or a if he wn th em. Wh en the int rrogator a k mi chae l if he recogni ze th e boy with th e m u tac he from th e Judge' tud y, mi chael ays ye ; but heal o ay that wh n he a ked Fl ynn about the b y, Fl y nn grabbed the pi cture and hid it away. The ne t tim michael! oked at th album, it had be n repl aced wi th a new pi cture. Phot graph erve a a tatic re~ rent within a cli ca l loop . Partyka 4 th r in Jude th le amp! P nn nab ut n m i ha I' m ther tea he him ab ut d tr ying ph t , r ner hip and pri a el pm nt and und r tanding f d regarding h r fi lm ru he . mi hael' n r hip can be mpar with ach tim th n r tum t th t pi c f ph t graph . Th h ad h t , th n, hi ghlight th relati n hip b tw e n lynn and hi " taft. " B k pin g th m fr m mi ha I' and laim lu i e wner hip fth m. ln 'Ph t graph and ~ l e t ra J pp al" R land Barth !aim that lect ral ph t graph ad an Whi I arth e · ~ u i parti u larl emingly capture r emb dy a well . Thi i al the n t n I toral ph to graph ', th e abi I ity f ph t graph y t t f dail ch 1c in a m rph I gy i appli ca ble here a differ nt fr m culture which beli eve that a photo ca pture ul. FinalI . mi hae l" r fe r nee t R1jJ/e 's B -fie,•e 11 or r trap ot (an ther exampl e f interte tuality), in relati n to the tin y writing n th e back f the ph t , uccinctl y um up micha I" relati on hip with Fl ynn . he how aft r all pre ented viewer with item and e ent that are o bizarre that iew r mi ght d ubt th e event ' va lidity. mi chael i fore d to belie e or di mi Fl ynn ' unbeli evabl e backgr und . Ther areal ituation in which michael become f c ur e everal u piciou of Flynn, including Netti e' s p ibl e abu Tanya' po ibl e a ault, and Robin ' di appea ran e. ln eac h itu ati n mi cha I i D reed to " beli eve it or not," and each tim e mi chae l' Bull hit Detector fail t w rk . michael tru ggle to find evidence of all of the e situation and unf011unately, continu e to a sociat wi th lynn. Flytm eventuall y tell michael that he wants the two of th em to tart making porn p , but mi chael begin to criticize th idea . In hi h ad, mi ha 1 ha already decid ed that he i done with Flynn ; h wever, when mi ha I bring up nge la arter· theori about Part ka 5 ial a ar n and p 111 graph 1 nn b at him u . hu thi len e in an attempt t manipulat m1 hael' b ha i ur. H d that h n d him, and d fr m ngl h ulder ju t like m th r i n rtain hil e tellin g mi ha n n mi ha I' lam hi hand d n th ugh mi ha 1 k p w rk with Fl nn an ymor , he i un lynn u e n ar und he ann t e ap fr m ~ 1 nn like he . Wh n mi cha 1 tri e t I a ngle d e . ngl y imilar t r hath d e a ing that h do ant and mirk that remind mi ha I f hi father. lynn tell him that hi b nn 1 n t want t r p n 1 a Kai at whi ch p int mi hael f[i cti el re 1gn him elf t th e beli f that he will ne er be able t e cape, and even th ugh he doe try t quit era! time , he n er manag t c mpl etely part c mpany with lynn. The fact that th interrogati n 1 tru tur d like a p rn make a la ting impre i n, but al con tant revi i n f hi that mi hael p ugge t b th th at Flynn ntinu e t re i t c pti n through the t ry. Meanwhil e, in hi te tim ny, mi chael refrain fr m telling Netti e anything about lynn or th eir film bu ine . Yet, tti e can fee l that m thing i mi ing in hi lett r (2 4 ). At one p int, mi cha 1 ven ha th e pp rtunity to turn lynn in : two detectiv how up on th day of hi prom. hey are I kin g for R bin ' kill er, but michael doe not tell them anything becau e he is worri ed that hi c nnection to Flynn will implicate him in illi cit activitie and becau e he aga in d e not have any incriminating evidence. Film Electric Koolaid Acid Porn In the larger context f the acid p rn, mi chael come face to fa e wi th all of the fear and anxietie he ha b en running from throughout hi wh le li fe . In tead of confr nting Partyka th m h habitual! ru n a a . Thi all all f th hau nt him lat r n in th I. Jt i a if m i hae l' an lima t g ther in in r a ing int n it until th unpr unaddre di u 1 tie t c me ba k t ar b in g cript d n erg durin g th a id trip . Th un ettling at n i that micha 1 i b ing wat bed thr ugh ut the n pia b y nd hi c ntr I. .. amp! f thi in lud th pre n n int rr gat r ' kn wl dge ab ut mi ha l. H nee the el r the un inten gat r ' interfer n i mad e vi ibl . mi ha I' a ti n , m e ther ader i f gh ft r all , th r adcr tak imultanc t car thr ugh ut th e part in cripting Jwmg, c n tru cting and interpreting the t ry. Tlm the writ rl y nature f th te t, a Barthe w uld ca ll it, bee m h re. Th r ar man imil ariti e between thi narrati v apparent tru cturc and that of rdj an pa je ic' A erhian Film, in whi ch th pr tag ni t i ca t ~ ran art film whi h turn into a nufffilm. The plot fth film i ca r fully co ntroll ed and even th protag nt t' ee min gly re 1 tant action to the producti on crew nea r the end of th e m vie are in fact ju t an th cr ca refu lly orch trated part of th larger nanati v of the film . Yet, mi chael doe not uccumb t de pair even when etti return home 1 oki ng deathly ill after hi prom. Whil e mi cha I fir t plan to run out and ee her, he top him elf when he ee the condition she i in. He i cru hed by hi in ability to intervene and he know that he is dying· however, he doe not entirely give up . He get angry, grab hi bike, and race downtown, intending to do omething, thou gh the only thing he can think of i t find orn e reso luti on for R bin ' murder. At this point, mi chael has n t een lynn or had contact with him for a whil , and he deci de to start hi life v r. This tat ment und vaguely r mini cent of michael· declaration f elf-ex ile arlier in the n vel, though it ha a m re re pon ibl entim nt Partyka 7 b hind it. Halfwa d wnt n, m1 ha 1 run int a 1 an d up and reD rm d anya. H run away fr m an a nl t run int ' reG rm d'. h a id int hi rink. Inter tingl lynn nt r a r taurant and , th a id h i apparent! nt t mi ha 1 fr m a tamp and pre umabl intend it t be a mind h w lynn find th a id and u tartin g t G cl th dru g· n it [! r hi in th ·apartm ent, mi hael pa e tti e arli r in the n a ault h r. panding e n purp m, 1 nn etti e. he hid n n m lip it [! r micha el; . H 1 ad mi hael , wh ff t , ba k t hi apat1m nt. ut and r awak n in what ha bee m Ma ' ripti n f th wa r h u e. Th e wa ll tum bl g1 en by ting him and wh i al hi I mi ha I i in th bathr b hind th er p etting re embl e th e ne el, when h tell mi ha I abo ut th e ' dr am' in whi h lynn h refer t th pi a ex pen nc of the trip . In the arne r a I ~ nn · heart, un d ubtedl y aff ctin g mi chae l' m that mi chael creencd T h , fam i~y o , ircle Jerk ·-6 b gm to pl ay. t the beginning f th n vel, mi chael t 11 u that h aw hi fi r t p rn , ir le Jerk '76, at the age f thirteen, but no th r m nti on i made of it until it h w up aga in a pa11 of the acid trip . In the film , fi ve boy and their dog walk into a fi eld with a bag of Hustler magazine . Th y tand ma turbating in a circle and race to fini h fir t. The cene end wi th a black creen and a vo ice over of ne of the b y sayi ng: " I win ! I win !'' (3 12). Peter M urphy co mpare th e circle jerk to port "beca u e it tran fo rm jerking off or rna turbati on int a sportin g event th at has winner and lo er "(66) . In addition, mi chael mak a point of in isting that the circle j erk hould not be equated with homo e ual de ire (7) . In the am way that the pre enc of dog d e not make the c ne b tial, th pr imity of the bo do not make the cene homo xual. In tead, 'ircle Jerk ·-6 hould be een a the demon tration Partyka fa hi gh ly rnp titi a rnent f rna uline dir ted t ward a rnp ti ti t u hin g all rna iri li t an uality hlin g 2 92 . ed during th ulinity i m ainta in -d . fp p ed are k h libidinal n rgy in th r and n t t ard ea h ft r all , th re 1 n 1mati h h g m ni rn a c ulinit th at rni hael h a b n runnin g fr m nd et th t n ~ r th re t [the trip . When 'ire/ ~ .J rk ''"'6 fini h enu Thea tre. , it i repl aced b ~ t thi p int the b un da r The di t rting e f~ c t n n arra ti tag f mi ch ael att ndin g th e leve l being t di int grat . f the dru g n hi c gniti n are refl ec ted th erein, and hi b com e D cali zed fr m w ithin th thi Fami~v - o Far . atre, wh r the fea ture pl aying i Th m e n tap mi ha I n th e h uld er and it tum They r tum t th I bb y w hich tum int a diml y lit, d ep red r ex t, the li ght tum o n and mi cha 1 ee th e w rd T R th r. c n ir 1 j rk. T hu , the ymb li b quitting p D ET in the T TH bed on w hich a ick mi chae l' anx ieti D K Y t01y of ut to be F ly nn . m w ith a ingle ca ndl e. R B LL HIT R on the wa ll (3 13 ). T h e room i o cupi ed by a film crew and a etti e i lying, h a bo ut H pen ence ked up to an IV and everal m achine . Aga in, tti e · co nditi n, a nd hi c n e pondin g fe ling of guilt urface here. mi chael i told to fu ck Netti e, w hil e a nurse sho t her w ith a needl e t p erk her up . mi chae l's di ck get oft at thi s po int, o th ey a ll fo r a flu ffe r. Mr. Billin gton wa lk in wi th a coupl e of crew m emb er w ho are can y ing a fe nce imil ar to th e ne in the drea m in which mi ch ael i abu ed by Billington . T h flu ffin g work and , on ce h ard aga in , m ic hael i told to tart fu cking Netti e in the a s, at w hi ch po int he perceives th e tarbur t of her a hole to be the Bull hit D teet r. H e proceed to fu ck it, w hile a d ete ri ratin g etti get another hot from the nur e. mi chae l finall y outri ght tell Netti e that he lo e her. t th i point michael' Partyka p r pti n f him lf i that fan bj t. H i imply playing ut the r 1 di tated t him fr m ff am ra, whi h i mi ha I' bi gg t ~ ar: th I m1 ha 1 lima hit n h fe 1 a hite" and he h ar th ld m talli h hite an b int rpr t din a numb r f page fan 1. ltim t 1y, it ignal th bj f ntr I r hi wn a ti n . t nth ba k f hi head . erything g [whit f a ba kfir b hind him . Thi lik mi ha I' id ea fh a a nd f n n r lik th e Ia t mething and th e b gmmng f mething el e. Th lim a of th e t ry. de pite th n el' c li alnarrati . It i th p int f high t in ten ity. Furtherm re, the whol nan ative f mi chae l' life ca n be cen a a p m graphy, n t j u t th indi idual film . h r are porn graphi c within th larger pornograph y, and th e int 1 iew reO t th relati n hip between reader and the tex t and/ r betw en the writer and th t t. In thi intere t , th writ r' and the read r . a tran ition ince the n intenogator · qu e ti on iew mi cha 1 i an actor b ing pull d by hi ow n nd hi "d ath" ' i r pre entati ve not of th e nd , but of 1 d e n t end and 111 michael c ntinu e to r t the Partyka 0 ON LU ION 11 wi ng th bla k ut, th int rr gat r tell mi h I that N tti died n th id ame tim a h g t nuf~ d. The t 11 micha 1 that if h want t kn w f t wn at th ill ha tti i ' h th int IT gati n ar pr p rat ith th m. uri u ly, n phy i al d cu tod y. f a tl y a" m king gun ." 11 Whil th e int rr gati n c uld tak pi a e after mi ha I' d ath - pre den can be e n in lann ripti n id d, and it i un lear wh th r mi ha el i dead r ali e; after all, the und fa gun backfiring during the a id trip i n t p li th r ~ r thi rt f nan·ati n n n' Th , T!Jird Poli ·em an - mi chael may ju t a piau ibly be in ne c uld n argu that th inten ga ti n 1 ju t an ther manife tati n f mi ha I' a id trip . Thi un ertainty i furth r upp 11ed by the repre entati nal trategic f the ne t d nan ati e tructure. Th inner narrati e - th o e ab ut mi cha I' life and film are r ot din co ncrete detail of body and pl ace, whil e th e interr ga ti n i purp efull y ambiguou and detach d. he la k of ph y ical and c ncrete detail make mi chael, and th e reader, kepti cal about what i happening. It i her , in the ab tract, that the interr gati on loop take pl ace. n the part f th interro gator , the repeated te ting of evid enc and record i remini cent of the cientifi c meth od' cyc li ca l pr ce (hypothe ize, te t, analyze, repeat). They try to make mea ning of his testimony via an obj ective organiza ti on of fact and ev nt in a etting that ha b en removed of nea rl y all tex tua l clu e . In tark co ntra t, mi chae l' te tim ony, whi ch i p intedl) subj ective, i pre nted within a number of hi ghl y de cripti ve nan ati ve bl o k . Hi te timony, like his film , embrace lit rary t chniqu e , and h trea t hi te tim ny a if it A common suspense/ irony trope in movies invo l ves a character being h ld at gun pomt about to be ~hot. Wh en the gun shot goes orr, the audience thinks the character has been shot, but orr screen, another chara ter has en tered and shot the haracter holding th e gun. 11 Partyka 1 were ju tan ther film. Hi manipulati n f hi t tim ny thu c nfli t with th int rr gat r ' d 1r t pin him d r und f gu hi n, and b th parti mak ibl th ti ning. li al tru ture al A reader w are made m anmg. are .G r d thr ugh r und aft r ti 1n f th r ad r' int rpretati n. m ntinthe n id r th n v I' a kn wledg m nt , -.: hi h n n tructi n fth t t' ura ge th read r t m rt th : " lfth r i an b d r ad in g thi una kn wledged hand in th b k" pr du ti n [and y u m t ertainly h uld , bein g th r ad r]. th n pi a add ur name in th n vel attempt t hi ghli ght thi r 1 interpreti pa pr h ~ read r' nam int th blank pa I th had an id ed bel w" (a kn wledgement ). Th e that the rea der cann t .G ign pa ivity in the . Thi i n t to a that th e read r ha free rein to interpret the n vel any way the reader w uld like; rather, the interpr tati n i c n trained by a numb er f fact r . ne uch con traint i th In ubtle in lu i n fa uppl mental analytic guid e. etti ' Ia t I tt r to mi hael , h includ e th e nam e f thr e ficti nal , criti al e ay that can erve a po ibl e appr ache to The Pornographer 's Poem. They are: " inematic Pornograph y a Burle gu pic"; " Porno graph y v . The f Main tr am Holl yw od: Pornin g In on the Biblical on truction of Bourgeo i Ta te: The AI old tein t ry"; and ''The Relati on hip Between the Hard -c re Pomo Loop and th e Modemi t Poem : tructural Analy i "(296) . The fir t approach analyze th e nove l a a a tire of main stream cultural trope and cliche , the econd compare and contra t predominantly middl e-cia with the repre entations found in porn graphy, and the third u m raJ literary fom1s (i .e. the m demist poem) to deco nstruct pornographi c one . a h approa h ju tapo e the hi gh level of regulati n that i comm n of hi gh art with the 1 r gulated form of low ar1. The e thre Partyka 2 ppr a h p e a trium irat Ia r pre nt d tru tur n t unlike th j Zi z ek. Thu th ithin th n m p erat nfli t b twe n hi gh art an w art i nDi t b tw een the c m eting p er[! rman f rna high! r gulat d p r[i rman f h g m ni c rna er[i nnan uliniti f ff- c ne rna ulinit i parall led with th m r radi cal imp! a ubj c tiv 1 v I. furth r pr bl m ati z d, f c ur e, b th e b k ' nana ti e ambi guiti Th parall e led di int grati n f n an·ati ntinuity m ake th in and in hi all n i ten Je . tencie and i ibl e, r, at lea t, thi di integrati n erve t mu h effort and pprc ulinity - the he trium irate tru cture f i lence help u und er tand h w h gem nic ma culinit c ntradi ction imilarly h wh w required t m a intain th e perceived tability f heg m ni c m a culinit . Thi triumv irate tru ctur p rfo1manc f h gem ni c m a c ulinity a! o help xpl ain w hy mi hae l' com e t be pr d minantl y c haracteri z d thro ugh e capi t behav io ur . Prompted by the dec ntrali zati on of m a culin model w ithin th e fa mil y unit, th e cho sy tem and the athl eti c regime, mi chael e peri ence a cri i ava il able ma uliniti f m a culinity. A th e numb r of increa e , mich ae l' ability to c nfid entl y na viga te th em and arti cul ate them effecti vely decrea e , p arti cul arl y beca u e he d oe no t pos e a tr ng rn a culine ro le mod el/exploratory attachm ent fi gure to help guid e him. The m a culiniti e th at michael com e up aga inst are o diver e and probl em atic th at he i no t ure w hich to emul ate; he is thu s ubj ect to a burd en of ch ice and experim ent w ith a vari ety of th m . The co pe of th e e m a culiniti e range from th e alternati ve ro k tar m asculinity f Lou R eid, to the alifomi a hippi e typ e, to the aw111t garde w riter/po rnographer embodi d by H nr Mill er. onver ely, mi chael defin e him elf aga in t a numb er o f hegemoni c and outri ght Part ka lent ma uliniti hi h lik B bb pr m t a mbardian rk thic - and perat thr ugh i 1 nt n. With fe e entuall the k antag ni ti p iti n . Within thi hi ch nn ' , whi h r 1 m d 1 t guid him, mi ha 1 ~ r d t create t t that p rp tuat r marketabl than hi criti a1, arti ti c [t 11 ngl entually i I nt p r ua 1 n· and lent influ ence. H i cial n rm be p ra ti n; tru ture ma ulinity i mad int a c mm dity that can b ea il y mark t d. Thu , the pr a! nt imag the different ma uliniti that rna culinity i are of1en that tabl e and [ ma culinit ar , by nature, n t repre enlati i l. Th pred minant cure. f all f cia! p r epti n f th e Jmage in tability and fragility f ma culinity che ed in th e p pular percepti n. hi why th e n el tre e el f-awarene on the part ofr -ader . It a k a lot f them. It a k that th ey be criti ca l f th e im ag that are cycled through the m di a, and it a k that reader ch ck th eir ow n co mpl acency in the interpretation and tim perpetuati on f th e not the reader i image . Th reader i left to qu e ti n whether or impl y p rpetuating a prefa bri cated hermeneutic n a number of im age that are in fa ct more compl ex than th ir interpretation . Thi lead t a number f qu ti on about how, as rec iver , we take r p n ibility for our ow n interpretati on of image . Do we accept the predominant image of masc ulinity? Do we participate in p rp etu ating the hegemony of the image . ltimately, wea r re pon ible b r the int rpretation and thu percepti on of gendered images . The novel attempt to how the importance of criti cal thinking thr ugh it cycli cal tructure. It a k u t continuall y r con eptuali e our perc ption of the e image . Patiyk ntinual di cur i e pa1ii ipati n i farm r pr du ti Thi nd mnati n r p rhap in whi h 111 e an talk ab ut and th r b littl d t appar nt. ualit - 1 pment and hang ur urr nt tenden ithin m - t limit th r ate a ti gma ar und whi h littl di cu an take pla e. rk. he dif[i r nt p r p cti c ha f under tanding th ari d per[! nnan e ingle tatic imag ith ut lo ing II f th eir c mple ity. 1 n hu , w need t pr m te m re ualit and g nd r. That i wh I ha appr a h than any m ral n r hip f imag . Within p rn graphy, with it hidd n lem nt , th n d [! r di wa 4 utilized an int r ti nal h lp d illuminat dif[i r nt way f rna cu linit , whi h cann t be c nd n ed int a uch, the rea d r mu t c ntinuall y pa11i ipat in a c ntinu al di al guc with rna culinity if the reader h pe t ace mmodate it nature a a high! dynami and hifting per[! 1mati ve prac tice. Partyka Work In ri h, Mar " n id rati n R gardin g Th 111 Atta hm nt .4 1 Bad r Mi ha 1. M al ' -4 nberg M ark T. et al. r m nt R I vant t r a nd ." A tta hm nt in th Pr and lnt n • ntion . d. Pr ited hoo f Y: ar, : Th a~:v. R . ar h, hi ag : ni r it f hi cag . Print. . uality: Why Women anham : R wm an ittlcfi eld , 20 Batih e , R land . " h t g raph a nd E le t ra I on 't nd 'r. land It -A nd M n on 't Eith r. . Print. pp a!," Myt /10 /o 1 >s. w Y rk : nd ay Pre , 19 7. Print. Bar1he , R land . "The ath f th uth r," /m a e I M usi · I ~ 'XI . T ran . teph cn H ea th . ew Y rk : Hill and W ang, 1977 . 142-7 . Print. 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