Index
Abe, Sada: culmination in violence,
200, 202–3, 206, 208–9, 212; firsts
with Kichizo, 190–91, 193–94; of
historical record, 184–85, 361nn45–
46; endless pleasure of, 197, 201,
211; sexual excitement of control,
204–5, 207; celebrity status of, 188,
198; initiations of, 196, 199; See also
Matsuda, Eiko
ad campaigns, 27, 254–56, 284, 325
adultery, 47, 79, 114
age d’or, L’, (dir. Luis Buñuel), 220
AIDS, 237, 263, 319
Albinus, Jens, 267–70
alienation, 79, 117
Allen, Woody, 169
Allyn, David, 157
Almodóvar, Pedro: perversions of,
221–23, 301–2, 305; circumnaviga-
tion of sex rules, 216–18, 232–33,
238; bridging gulf between body and
screen, 303, 306, 322; unburdening
of guilt in films, 219; love-death
scenes, 220
Althusser, Louis, 95, 341n58
ambivalence, 275, 278–79, 296
American hard-core art, 283, 294
American sexuality, 180
Americanization, 114, 121
anal eroticism: in Last Tango in Paris,
117–19, 121, 125, 142, 214; in Broke-
back Mountain, 239, 241–42, 325,
246; in Boys in the Sand, 146–48,
151; shock value of, 137, 222, 237;
in male-male pornography, 146;
in Fat Girl, 281; in Shortbus, 292;
on television, 304; on the Internet,
313; distinction between man/man
and man/woman, 366n43; See also
sodomy
anatomy: as revealed by magnifica-
tion, 30–31, 126; of the kiss, 31, 44,
64, 136; of sex acts, 27, 58; female
vaginal, 174, 217; of male ejaculation,
159; of male-male difference, 248; of
Jenna Jameson, 326
Anatomy of Hell (dir. Catherine Breil-
lat), 275
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