CHAPTER 1
1 Mendik, X. (2000) ‘Shooting up on Speech: the Female “Fix” of The Addiction’, in J. Hunter (ed.) Christopher Walken: Movie Top Ten. London: Creation Books, 106.
2 Charity, T. (1999) ‘The Addiction’, in J. Pym (ed.) Time Out Film Guide, Seventh Edition. London: Penguin, 7.
3 Hawkins, J. (2001) ‘Smart Art and Theoretical Fictions’, Part One. C Theory Review Article, p. 50.
4 Burroughs, W. (1959) Naked Lunch. New York: Grove Press, xxxviii.
5 Siegle, R. (1989) Suburban Ambush: Downtown Writing and the Fiction of Insurgency. Baltimore and London: Johns Hopkins Press, 1.
8 Quoted in Burroughs 1959: xix.
9 Hoberman, J. (1995) ‘Youngbloods’, Village Voice, 40, 41, 69.
10 Ronell, A (1992) Crack Wars: Literature, Addiction, Mania. Lincoln and London: University of Nebraska Press, 13.
12 Derrida, J. (1993) ‘The Rhetoric of Drugs’, Interview with Autrement. Trans. Michael Israel. Differences, 5, 1, 13.
13 See S. Reynolds (1999) Generation Ecstasy: Into the World of Techno and Rave Culture. New York: Routledge. See also G. Deleuze and F. Guattari (1987) A Thousand Plateaus: Capitalism and Schizophrenia [Translation of Mille Plateaus]. Trans. Brian Massumi. Minneapolis: University of Minnesota Press.
14 Clover, C. (1992) Men, Women and Chainsaws. Princeton, N.J.:Princeton University Press.
16 Cited in Kraus, C. (2000) Aliens and Anorexia. New York: Semiotext(e) [Native Agents Series], 27.
17 Auerbach, N. (1995) Our Vampires, Ourselves. Chicago and London: University of Chicago Press.
18 LaSalle, M. (1995) ‘“Addiction” in All Its Gory Detail: Vampire Tale Told Ferrara Style’, San Francisco Chronicle, 10 November, C3.
1 Schaefer, E. (1999) Bold! Daring! Shocking! True! A History of Exploitation Film 1919–1959. Durham: Duke University Press.
2 D’Emilio, J. & E. Freedman (1988) Intimate Matters: A History of Sexuality in America. New York: Harper and Row, 327.
3 Wilinsky, B. (2001) Sure Seaters: The Emergence of Arthouse Cinema. Minneapolis & London: University of Minnesota Press.
4 Canby, V. (1968) ‘Films Exploiting Interest in Sex and Violence Find Growing Audience Here: Crude 42nd Street Fare Now Seen All Over City and Suburbs’, New York Times, 24 January, 48.
7 Randall, R. (1976) ‘Censorship: From The Miracle to Deep Throat’, in T. Balio (ed.) The American Film Industry. Madison: University of Wisconsin Press, 432–58.
9 Wyatt, J. (1999) ‘Selling “Atrocious Sexual Behaviour”: Revising Sexualities in the Marketplace for Adult Film in the 1960s’, in H. Radner & M. Luckett (eds) Swinging Single: Representing Sexuality in the 1960s. Minneapolis and London: University of Minnesota Press, 105–32.
10 Quoted in Albarino, R. (1966) ‘Stranglehold on Sex Gasps: Majors Giving Indies a Lesson’, Variety, 12 October, 7, 26.
11 Stevenson, J. (2001) ‘And God Created Europe: How the European Sexual Myth Was Created and Sold to Post-War American Movie Audiences’, in J. Stevenson (ed.) Fleshpot: Cinema’s Sexual Mythmakers and Taboo Breakers. Manchester: Headpress, 17–48.
12 ‘Newspapers & “Adults Only”’ Editorial. Motion Picture Herald, 15 July 1961, 224, 3, 1.
13 Reade, W. (1961) ‘Who’s For Censorship? Recent Supreme Court Ruling Leaves Problem Unsolved’, New York Times, 9 July.
15 Doerfler, J. (1971) ‘Radley Metzger: Let’em See Skin…’, Boston After Dark, 9 February, 16.
17 Lewis, J. (2001) Hollywood v. HardCore: How the Struggle Over Censorship Saved the Modern Film Industry. New York: New York University Press.
18 Hentoff, M. (1969) ‘Notes from Above Ground’, The New York Review of Books, 22 May, 19–20.
20 Friedman, D. with D. De Nevi (1990) A Youth in Babylon: Confessions of a Trash Film King. Buffalo, NY: Prometheus Books, 100.
21 Bourdieu, P. (1984) Distinction: A Social Critique of the Judgement of Taste. Trans. Richard Nice. Cambridge: Harvard University Press, 56–7.
23 Lynes, R. (1954) The Tastemakers: The Shaping of American Popular Taste. New York: Dover Publications. 338.
24 Waugh, T. (1996) “Cockteaser.” In Doyle, J. Flatley, & J., Munoz (eds.) Pop Out: Queer Warhol. Durham: Duke University Press, 61.
25 Jameson, F. (1992) Signatures of the Visible. New York and London: Routledge, 1.
28 Turan, K. & S. Zito (1974) Sinema: American Pornographic Films and the People Who Make Them. New York: Praeger, 56.
29 Staiger, J. (2000) ‘Finding Community in the Early 1960s: Underground Cinema and Sexual Politics’, in Perverse Spectators: The Practices of Film Reception. New York: New York University Press, 125–60.
30 Verrill, A. (1974) ‘Test for Right Sell to Wrong Sex: Audubon Finds Porno Regulars Resist Male-to-Male’, Variety, 3 July, 17.
CHAPTER 3
1 Curtis, D. (1971) Experimental Cinema: A Fifty-Year Evolution. Delta: Dell, 51–3.
2 Vogel, A. (1967) ‘Thirteen Confusions’, in Evergreen Review; reprinted in G. Battcock & E. P. Dutton (eds) The New American Cinema: A Critical Anthology. New York: Dutton & Co, 128.
3 Quoted in C. Stephens (2000) ‘Brides and Monsters: Curtis Harrington Revisits the Past’, Filmmaker, Fall, 9, 1, 16–17.
4 Quoted from a television interview with Harrington conducted by David Del Valle on the first of a two-part episode of Del Valle’s programme Sinister Image; 1987, Century Cable Public Access Studio, Santa Monica, CA.
5 Fischer, D. (1991) Horror Film Directors, 1931–1990. Baltimore: McFarland & Co, 502.
7 Renan, S. (1967) in Battcock & Dutton, 87.
11 Quoted in P. Adams Sitney (1970) Film Culture Reader. Westport, CN: Praeger, 8.
12 The quotes attributed to Harrington come from editorial corrections and notation for S. Bissette (1992) ‘Harrington Ascending: The Underground Roots’, Video Watchdog, 14, Nov/Dec, 24–5.
14 Lucas, T. (1992) ‘Curtis Harrington Videography’, Video Watchdog, 14, Nov/Dec, 50.
16 Dwoskin, S. (1975) Film Is: The International Free Cinema. New York: The Overlook Press, 55.
20 Anders quote from 25 August 1992, Video Watchdog, 14, Nov/Dec, 27.
21 Jonas Mekas cited in Sitney 1970: 102.
22 Markopoulos interviewed by J. Mekas (1972) Movie Journal: The Rise of the New American Cinema, 1959–1971. New York: Collier Books, 234.
CHAPTER 4
1 Williams, T. (1997) Larry Cohen: Radical Allegories of an American Filmmaker. Jefferson, N.C.: McFarland.
2 Dixon, W. W. (1999) The Exploding Eye: A Re-Visionary History of 1960s American Experimental Cinema. Albany: State University of New York Press.
4 Mulvey, L. (1975) ‘Visual Pleasure and Narrative Cinema’, Screen, 16, 1, 6–18.
5 Rodowick, D. N. (1982) ‘The Difficulty of Difference’, Wide Angle, 5, 1, 4–15.
6 Mulvey, L. (1985) ‘Changes’, Discourse, 3, 11–30.
7 Marks, P. (2000) ‘On TV, Crime Will Pay’, The New York Times: Weekend, 11 May, B1, B12.
8 See Williams 1997: 100–10.
9 Rothman, W. (1982) Hitchcock – The Murderous Gaze. Cambridge, Massachusetts: Harvard University Press.
10 Brill, L. (1988) The Hitchcock Romance: Love and Irony in Hitchcock’s Films. New Jersey: Princeton University Press, 242.
CHAPTER 5
1 Quoted in J. Petley (2000) ‘“Snuffed Out”: Nightmares in a Trading Standards Officer’s Brain’, in G. Harper & X. Mendik (eds) Unruly Pleasures: The Cult Film and its Critics. Guildford: FAB Press, 206.
2 Quoted in H. Millea (1999) ‘Voyeurs, Guns, and Money’, Premier, March, 62–9, 100.
3 J. David Slocum quoted in Millea 1999: 65.
4 Gloria Buck quoted in J. Yardley (2001) ‘Oklahoma City: Execution on TV Brings Little Solace’, New York Times, 12 June.
5 Wills, G. (2001) ‘The Dramaturgy of Death’, New York Review of Books, 21 June, 10.
6 Brian Lowry, television columnist for the Los Angeles Times, interviewed by Mandalit Delbarco on NPR’s ‘Morning Edition’, 9 February 2001.
7 Lesser, W. (2001) ‘TV’s Love Affair with Death’, New York Times, 25 March. See also her 1993 book, Pictures at an Execution. Cambridge, MA: Harvard University Press.
9 Freeland, C. (1995) ‘Realist Horror’, in C. Freeland & T. Wartenberg (eds) Philosophy and Film. New York: Routledge, 126–42.
10 McDonough, J. (1991) ‘Director Without a Past’, American Film (May), 44.
11 Simpson, P. (2000) Psycho Paths: Tracking the Serial Killer Through Contemporary American Film and Fiction. Carbondale: Southern Illinois University Press, 141.
12 Wilkinson, P. (1992) ‘Hot Director’, Rolling Stone, 14 May, 75.
14 Kerekes, D. & D. Slater (1995) Killing For Culture: An Illustrated History of the Death Film from Mondo to Snuff. London: Creation Books, 252, n6.
16 Quoted on ‘American Justice: The California Killing Field’ (2000). A&E video.
18 See Conrich, I. & S. Schneider ‘The Paradox of Pseudo Snuff’, in N. Rombes (ed.) From Avant-Garde to Mainstream: Post-Punk Cinemas (forthcoming).
19 Petley 2000: 217, 209.
20 Kerekes & Slater 1995: 245.
21 Quoted on ‘American Justice: Getting Away with Murder’ (1999/2000). A&E video.
22 Kerekes & Slater 1995: 43.
24 See J. Brooke (2000) ‘Crime Book May Become a Page in Canadian law’, New York Times, April 10.
25 Quoted by A. DePalma (1997) ‘Murderer’s Sex Tapes Put Canadian Lawyer at Risk’, New York Times, February 24.
26 Cf. Tony Williams’s essay on Special Effects in this volume.
28 Ballard, J. G. (1990) The Atrocity Exhibition [1972]. San Francisco: Re/Search, 69 (Ballard’s annotation).
29 Kerekes & Slater 1995: 48.
30 Pasolini, P. P. (1988) Heretical Empiricism. Trans. B. Lawton & L. K. Barnett. Bloomington: Indiana University Press, 233.
31 Morrison, K. (1999) ‘The Technology of Homicide: Constructions of Evidence and Truth in the American Murder film’, in C. Sharrett (ed.) Mythologies of Violence in Postmodern Media. Detroit: Wayne State University Press, 312.
32 Eldridge, C. (2000) ‘Better Art Through Circuitry – Questions for Natalie Jeremijenko’, The New York Times Magazine, 11 June, 25.
34 For a detailed discussion of this film, see J. Black (2001) The Reality Effect: Film Culture and the Graphic Imperative. New York: Routledge.
CHAPTER 6
1 Boswell, P. (2000) ‘Bruce Conner: Theater of Light and Shadow’, in 2000 BC: The Bruce Conner Story Part II. Minneapolis: Walker Art Center, 39.
3 Belz, C. (1967) ‘Three Films by Bruce Conner’, Film Culture, 44, Spring, 57.
4 O’Doherty, B. (1967) ‘Bruce Conner and His Films’, in G. Battock (ed.) The New American Cinema: A Critical Anthology. New York: Dutton, 196.
5 Conner, B. (1969) ‘Bruce Conner’, Film Comment, 5.4, Winter, 18.
6 Quoted in R. Haller (1979) ‘Excerpts from an Interview with Bruce Conner Conducted in July of 1971’, Film Culture, 67–9, 193.
8 Huss, R. & N. Silverstein (1968) The Film Experience: Elements of Motion Picture Art. New York: Harper & Row, 4.
9 Quoted in M. Caywood (2000) ‘Not to the Beat: Bruce Conner Often Metamorphosizes, but One Thing Remains Consistent’, Fort Worth Weekly, 17–24 February.
13 Mosen, D. (1966) ‘Report’, Film Quarterly, 19, 3, Spring, 55.
15 Brakhage, S. (1989) Film at Wit’s End: Eight Avant-Garde Filmmakers. Kingston: McPherson, 141.
18 Jenkins, B. (2000) ‘Explosion in a Film Factory: The Cinema of Bruce Conner’, in 2000 BC: The Bruce Conner Story Part II. Minneapolis: Walker Art Center, 211.
19 See Conner 1969: 18; Haller 1979: 193.
CHAPTER 7
1 See S. Renan (1967) The Underground Film: An Introduction To Its Development In America. London: Studio Vista; and R. Dyer (1990) Now You See It. London: Routledge, 149–52.
3 Warhol, A. & P. Hackett (1981) POPism: The Warhol ‘60s. London: Hutchinson, 252.
4 Hackett, P (ed.) (1989) The Andy Warhol Diaries. London: Simon & Schuster, 689.
5 Warhol, A. (1976) From A To B And Back Again: The Philosophy of Andy Warhol. London: Picador, 213.
6 Woronov, M. (2000) Swimming Underground: My Years in the Warhol Factory. London: Serpent’s Tail, 30 (my emphasis).
7 Woronov, M. (2001) ‘Screen Tests’, The Guardian, 21 July.
8 Warhol & Hackett 1981: 91.
9 Mary Woronov quoted in J. Sargeant (2001) ‘Mary Woronov, So Far Underground, You Get The Bends’, BBGun 5, 77–80.
10 Warhol & Hackett 1981: 233.
11 Berg, G. (1989) ‘Nothing To Lose: An Interview With Andy Warhol’, in M. O’Pray (ed.) Andy Warhol Film Factory. London: BFI Publishing, 54–61.
13 Warhol and Hackett 1981: 51.
CHAPTER 8
1 Setlowe, R. (1967) ‘Saga of Negro Director’, Daily Variety, 13 December, 7.
4 Morgenstern, J. (1970) ‘Off-Colour Joke’, Newsweek, 25 May, 102.
5 Gillespie, C. (1970) ‘Watermelon Man’, Entertainment World, 29 May, 23.
6 Carroll, K. (1970) ‘Black and White Blues’, Daily News, 28 May, 74.
8 Newsweek (1971) ‘Sweet Song of Success’, 21 August, 89.
9 Time (1971) ‘Power to the Peebles’, 16 August, 47.
10 Reid, M. (1993) Redefining Black Film. Berkeley, Los Angeles & Oxford: University of California Press, 79; T. Topor (1972) ‘The Show That Was Supposed To Die’, New York Post, 5 February, 15.
11 Bogle, D. (2000) Toms, Coons, Mulattoes, Mammies, & Bucks: An Interpretive History of Blacks in American Films. 3rd Edition. New York: Continuum, 194–266; T. Cripps (1979) Black Film as Genre. Bloomington & London: Indiana University Press, 128–40; Ed Guerrero (1993) Framing Blackness: The African American Image in Film. Philadelphia: Temple University Press, 69–112; Reid 1993.
12 Gilliatt, P. (June 19, 1971) ‘Sweetback’, The New Yorker, 68.
14 Gussow, M. (1972) ‘The Baadasssss Success of Melvin Van Peebles’, New York Times Magazine, 20 August, 86.
16 Van Peebles, M. (1971) ‘A Stork Flew Over the Zoo Fence…’, Sunday News, 3 October, S3.
17 Canby, V. (1971) ‘“Sweetback”: Does It Exploit Injustice?’, New York Times, 9 May, D1.
18 Riley, C. (1971) ‘What Makes Sweetback Run?’, New York Times, 9 May, D11.
19 Bennett, L. (1971) ‘The Emancipation Orgasm: Sweetback in Wonderland’, Ebony, September, 112.
CHAPTER 9
1 Heard, C. (1969) ‘Sexploitation’, in C. Heard & J. Lithgow ‘Underground U.S.A. and the Sexploitation Market’, Films and Filming, 25.
3 Bowen, M. (1997) ‘The Many Film Bodies of Doris Wishman’, Wide Angle, 19, 3; Gorfinkel, E. (2000) ‘The Body as Apparatus: Chesty Morgan Takes on the Academy’, in X. Mendik & G. Harper (eds) Unruly Pleasures: The Cult Film and its Critics. London: Fab Press.
4 Oppenheim, P. (1991) ‘Queen of Sexploitation Quickie: Doris Wishman’, Filmfax, 28, 73–6; J. Renshaw (1998) ‘Sexploitation Queen’, The Austin Chronicle, 10 July, 48–50.
5 Dennis Dermody, interview with the author.
6 Wishman’s testimony from numerous interviews with the author.
7 Moller, D. (1962) ‘Nuderama’, Vision, 1, 2, 18.
11 Wishman, interview with the author.
13 Morton, J. (ed.) (1986) Incredibly Strange Film. San Francisco: RE/Search Publications, 113.
14 Wishman, interview with the author.
16 C. Davis Smith, interview with the author.
17 Wishman, interview with the author.
18 Awesh, P. (1998) ‘Nude Deal’, The Village Voice, 43, 12, 24.
19 Wishman, interview with the author.
20 ‘Mamell’s Story’, (1975) Ecran 35, 75; McGillivray, D. (1974) ‘Deadly Weapons’, Monthly Film Bulletin, 41, 409, 249.
CHAPTER 10
1 Thompson, H. S. (1966) Hell’s Angels: The Strange and Terrible Saga of the Outlaw Motorcycle Gangs. New York: Random House, 1.
2 Corrigan, T. (1991) A Cinema Without Walls: Movies and Culture after Vietnam. New Brunswick, NJ: Rutgers University Press, 143.
5 Cohan, S. and I. Rae Hark (eds) (1997) The Road Movie Book. London: Routledge, 1.
7 Laderman, D. ‘What a Trip: The Road Film and American Culture’, Journal of Film and Video, 48, 1–2, Spring/Summer, 41–57.
8 Seate, M. (2000) Two Wheels on Two Reels: A History of Biker Movies. North Conway: Whitehorse Press, 14.
9 Cited in J. Cott ‘Anger Rising’, Sunday Ramparts, 7 May.
10 Morris, G. (1993) ‘Beyond the Beach: Social and Formal Aspects of AIP’s Beach Party Movies’, Journal of Popular Film and Television, 2, 2–11.
11 Cited in Seate 2000: 23.
12 The success of the more famous sequel, Billy Jack (1970), prompted the re-release of the original.
13 Martin, R. (1997) Mean Streets and Raging Bulls: The Legacy of Film Noir in Contemporary American Cinema. London: Scarecrow, 85. Jim Hillier also cites Easy Rider as a herald to more innovative filmmaking practice in mainstream American cinema. See J. Hillier (1992) The New Hollywood. London: Studio Vista.
14 Klinger, B. (1997) ‘The Road to Dystopia: Landscaping the Nation in Easy Rider’, in Cohan & Hark, 181–2.
16 Daniel, A. (1999) ‘Get Your Kicks: Easy Rider and the Counter-Culture’, in J. Sargeant & S. Watson (eds) Lost Highways: An Illustrated History of Road Movies. London: Creation, 70.
17 Roberts, S. (1997) ‘Western Meets Eastwood: Genre and Gender on the Road’, in Cohan & Hark, 61.
19 Crane, J. (2000) ‘A Lust for Life: The Cult Films of Russ Meyer’, in X. Mendik & G. Harper (eds) Unruly Pleasures: The Cult Film and Its Critics. Guildford: Fab Press, 91.
20 Morton, Jim (1999) ‘Rebels of the Road: The Biker Film’, in Sargeant & Watson, 64.
CHAPTER 11
1 Sitney, P. A. (1974) Visionary Film: The American Avant-Garde. New York: Oxford, 398.
2 For more on Smith’s epic journey, see R. Singh (1995) ‘Anthology Film Archives: New York’ and B. Breeze (1996) ‘In Memoriam, Harry Smith’, in P. Igliori (1996) American Magus – Harry Smith: A Modern Alchemist. New York: Inandout Press. The Harry Smith Archives maintains an extensive website at www.harrysmitharchives.com.
3 Marcus, G. (1997) Invisible Republic: Bob Dylan’s Basement Tapes. New York: Henry Holt, 95. See also R. Cantwell (1996) When We Were Good: The Folk Revival. Cambridge, MA: Harvard University Press.
4 Deleuze, G. (1989) Cinema 2: The Time-Image. Minneapolis: University of Minnesota Press (Trans. H. Tomlinson and R. Galeta; first published in French in 1985), 20.
6 See Berge, C. (1965) ‘Dialogue with Words: The Work of Harry Smith’, Film Culture 37 (Summer), 2–4; N. Carroll (1977–78) ‘Mind, Medium and Metaphor in Harry Smith’s Heaven and Earth Magic’, Film Quarterly 31.2 (Winter), 37–44; and Sitney, 232–62.
CHAPTER 12
1 Benjamin, W. (1973) Understanding Brecht. London: New Left Books, 94–5.
6 Herzog interview with Korine.
CHAPTER 14
3 Jenkins, H. (1992) Textual Poachers: Television Fans and Participatory Culture. New York and London: Routledge, 13.
4 Jenson, J. (1992) ‘Fandom as Pathology: the Consequences of Characterization’, in L. Lewis (ed.) The Adoring Audience: Fan Culture and Popular Culture. London and New York: Routledge.
6 Penley, C. (1991) ‘Brownian motion: Women, Tactics and Technology’, in C. Penley & A. Ross (eds) Technoculture. Minneapolis: University of Minnesota Press.
8 Fiske, J. (1992) ‘The Cultural Economy of Fandom’, in L. Lewis (ed.) The Adoring Audience: Fan Culture and Popular Culture. London and New York: Routledge, 30–9.
14 McKee, A. (forthcoming) ‘How to Tell the Difference Between Production and Consumption: a case study in Doctor Who fandom’, in S. Jones & R. Pearson (eds) Worlds Apart: Essays on Cult Television. Minneapolis: University of Minnesota Press.
16 Rubio, K. (1998) ‘Troops: Whatcha Gonna Do? A revealing interview with the creators of Troops’, Daily Movies, 22 April, <http://theforce.ign.com>
21 Ang, I. (2000) ‘New Technologies, Audience Measurement, and the Tactics of Television Consumption’, in J. Caldwell (ed.) Electronic Media and Technoculture. New Brunswick, New Jersey: Rutgers University Press, 183–96.
1 Original source of this quotation was in Film Culture, 22–3, Summer 1961. The manifesto was reprinted in P. Adams Sitney (1970) Film Culture Reader. New York: Praeger Publishers, 81–2.
2 Arthur, P. (1989) The Film Co-op Catalogue. New York: The New American Cinema Group.
3 Le Grice, M. (1986) Light Years Catalogue: A Twenty Year Celebration of the LFMC.
4 Cited in The 1993 London Filmmaker’s Co-op Catalogue, 163–4.
CHAPTER 17
1 Vogel, A. (1974) Film as a Subversive Art. New York: Random House.
CHAPTER 18
1 Mekas, J. (1961) Village Voice, 12 January.
2 Kroll, J. (1966) ‘Underground in Hell’, Newsweek, November 14.
CHAPTER 19
1 Paul, W. (1994) Laughing Screaming: Modern Hollywood Horror and Comedy. New York: Columbia University Press, 81.
2 Waters, J. (1995) Shock Value: a tasteful book about bad taste. New York: Thunder’s Mouth Press, 2.
7 Carroll, N. (1990) The Philosophy of Horror; or, Paradoxes of the Heart. New York: Routledge, 1990, 32.
8 Bakhtin, cited in Creed, B. (1995) ‘Horror and the Carnivalesque’, in Devereaux, L and Hillman, R. (eds.) Fields of Vision: Essays in Film Studies, Visual Anthropology, and Photography. Berkeley: University of California Press, 130.
16 Stevenson, J. (1996) Desperate Visions: The Journal of Alternative Cinema 1: Camp America (Interviews and Essays). London: Creation Books, 13.
17 Bakhtin, M. (1985) Rabelais and His World. Bloomington: Indiana University Press, 320.
20 Frank, J. (1997) ‘25th Anniversary of the Filthiest Marriage: Pink Flamingos Reprocessed’, Projections: A publication of the Forum for the Psychoanalytic Study of Film 11.1 (Spring): 23.