Notes

Introduction

1. For an account and analysis of masochism in performance art of the 1970s, seeO’Dell.

2. Venus in Furs appeared first as Venus im Pelz as part of Leopold von Sacher-Masoch’s cycle The Heritage of Cain (Das Vermächtnis Kains), which I will addressin chapter two. There I quote from the English edition and offer an extensivereading of the novella.

3. For an example of this line of argument, see Stewart. I will return to specificaspects of her argument in the individual chapters.

4. I was not able to integrate a discussion of the recent title by Tsiavou.5. See Farin for an extensive bibliography (370–-437). I will discuss Sacher-

Masoch’s oeuvre more extensively in chapters one and two.6. Katrin Sieg offers a detailed study of subversive and hegemonic uses to which

“ethnic drag” has been put in Germany. I will return to her study in chapter four.

Chapter 1

1. All translations from German, if not otherwise noted, are by me.2. Oosterhuis’s overview of Krafft-Ebing’s works (287–95) is of essential help here:

Psychopathia Sexualis was published in twelve editions between 1886 and 1903.This means that between 1886 and 1894, Krafft-Ebing published a new editionevery year, and between 1898 and 1903 every two to three years. After his death,five more editions were published by other editors, and four editions appeared inEnglish translations.

3. The term “invention of masochism” was coined by Noyes in Mastery of Submission.4. Oosterhuis explains: “A great number of the perverts who contacted Krafft-

Ebing after the first publication of Psychopathia Sexualis called on him becausethey were unable to accept their own sexual inclination, as a result of which theywere tormented by feelings of shame and guilt” (153).

5. This is part of Oosterhuis’s larger argument. See his two chapters “Autobiographyand Sexual Identity” (215–30) and “Romantic Love, Intimacy, and the SexualSelf ” (231–40).

6. Oosterhuis gives the following account of how the term and the concept ofhomosexuality developed. Krafft-Ebing “introduced the terms paradoxia (thewrong time), anesthesia and hyperesthesia (the wrong amount), and paresthesia(the wrong aim or object)” in his first edition of Psychopathia Sexualis in 1886(44). In 1877 Krafft-Ebing had distinguished three subgroups of perversions, oneof which was “contrary sexual feeling,” and throughout the 1880s and 90s he andhis German colleagues “created and defined new categories of perversion by col-lecting and publishing case histories in a more or less systematic manner. Themost important category was same-sex behavior, for which concepts likeuranism, homosexual, and contrary sexual feeling had been invented in the 1860s.The labels uranism, introduced by Karl Heinrich Ulrichs (1825–1895; penname Numa Numantius) in 1864, and homosexuality, coined five years laterby Karl Maria Kerbeny (1824–1882), were actually of a nonmedical, proto-emancipatory origin” (44).

7. I follow the translation from the English edition (Krafft-Ebing 1946), except incases where I quote text that was omitted from the English edition. In thosecases I translate the German edition and refer to the German page numbers(Krafft-Ebing 1912, reprinted 1993). Oosterhuis translates the German text ofPsychopathia Sexualis because of the many erroneous translations in the Englishedition. In such cases I emphasize what is at stake in the faulty translation.

8. For a brief discussion from a perspective of medical history concerning Krafft-Ebing’s use of writers’ names, see Karenberg.

9. To shore up his claim that Sacher-Masoch himself was afflicted with the per-version, Krafft-Ebing includes the following footnote: “Cf. for corroborationSacher-Masoch, biography by v. Eulenburg: Grenzfragen des Nerven- undSeelenlebens, 1902, xxix, pp. 46–57” (132).

10. Oosterhuis offers a more sympathetic reading of Krafft-Ebing’s statement byquoting his evaluation of Sacher-Masoch only as a person and not as a writer: “Bycoining masochism as a sexual perversion, Krafft-Ebing foisted upon Sacher-Masoch a notoriety that was harmful to his already dubious social reputation,although Krafft-Ebing stated in Psychopathia sexualis that as ‘a man Sacher-Masoch surely does not lose the respect of his cultured fellow beings simplybecause he was afflicted with a sexual anomaly through no fault of his own’” (50).

11. Oosterhuis accords this quote to Krafft-Ebing, Neue Forschungen auf dem Gebietder Psychopathia sexualis. Eine medicinisch-psychologische Studie. 2ed. (Stuttgart:Ferdinand Enke, 1891: 17–18). It is not included in the 14th German edition orin the 12th English edition.

12. The implied reference here is of course to Michel Foucault’s three-volumeHistory of Sexuality.

13. Since this case is not included in the English edition, the following quotation ismy translation and the page number refers to the German edition.

14. See especially McClintock’s chapter “Imperial Leather: Race, Cross-dressing andthe Cult of Domesticity” (Imperial Leather 132–80).

15. For a discussion of the significance of women’s writing with regard tomasochism, see Mennel, “Euch auspeitschen.”

176 Notes

16. This case is not included in the English translation.17. The German edition states: “So kommt es, dass bis jetzt nur folgende Fälle von

Masochismus des Weibes wissenschaftlich konstatiert sind” (“That’s why to dateonly the following cases of masochism in women have been scientifically estab-lished,” 152); then Krafft-Ebing lists cases 85, 86, and 87. The English versiontranslates: “Thus it happens that, up to the present time, but two cases ofmasochism in woman have been scientifically established” (197); then the textlists the same three cases as the German edition but the numbers of the cases shiftbetween the German edition and the English translation. So German Case 84 isCase 85 in the English translation and so on. I follow the numbering of theEnglish translation.

18. The first of the three cases of female masochism described by Krafft-Ebing isCase 85 in the German edition and numbered Case 84 in the English edition. Inthe German edition, Krafft-Ebing refers back to that Case later in his discussionof female masochism. This paragraph is not included in the English edition, andtherefore my translation. The page number refers to the German edition.

Chapter 2

1. Quotations follow the contemporary translation (Sacher-Masoch 1870, reprinted1989).

2. Shaviro, for example, does not provide years for the films he discusses.3. I am referring here to Sacher-Masoch’s Ein weiblicher Sultan (1873) and Afrikas

Semiramis (1901, reprinted 1985).4. McClintock explicitly argues against the approach advanced by Garber.

However, I would also include the works by Merck and Fernbach.5. According to McClintock, Munby died in 1910 and his will stated that he loved

Cullwick for 45 years and that they were secretly married for 36 years. This datesthe beginning of their relationship at 1865, five years before the publication ofVenus in Furs, and puts their wedding date at 1874, four years after its publication.

6. Stewart emphasizes not only the crisis of speaking but the crisis of looking nar-rated in the crisis of the painter, which I will discuss later in this chapter.

7. This reference, however, is not included in the English translation, in which “undblökt lächelnd die Zähne” (99) becomes “gave me a broad smile that revealed herdazzling teeth” (233).

8. The role of Wanda in the staging is instructive and productive for a discussion ofthe fundamental premises of feminist film theory. Laura Mulvey’s essay “VisualPleasure and Narrative Cinema,” much revised since its first publication, putsforth a model of spectatorship that relies on an association of femininity withmasochism and to-be-looked-at-ness, and masculinity with sadism and the gaze.It is precisely the absence of physical sexuality and the consequent emphasis onlooking relations to negotiate power that makes masochism so attractive for filmtheory. The scene of Wanda controlling the image and the image production

Notes 177

seems then to pose a contradiction to the dominant paradigms of feminist filmtheory. Mulvey’s theoretical paradigm has since been criticized and modified,however, primarily from two positions: one arguing that her model inscribeswhiteness and heterosexuality and privileges Western viewing practices (Hooks,Kaplan), and the other arguing for the multiplicity of identification (Shohat andStam). These approaches make her model more complex and diverse but do notquestion her underlying alignment of femininity with masochistic passivity andmasculinity with sadistic activity. However, it is important for our context herethat Mulvey, in her foundational essay, moves through two cinematic examples:one masochistic (illustrated with the example of Josef von Sternberg), and onesadistic (illustrated with the example of Alfred Hitchcock). Then Mulvey con-cludes her essay by privileging the model based on Hitchcock’s films, whichemphasizes the male sadistic gaze onto the female spectacle. Her essay thereforehas always included an alternative model that has, however, been rhetoricallymarginalized. The most substantial criticism of her model of spectatorship hascome from those theorists who center their approach to cinematic spectatorshipon masochism (Shaviro, Silverman, Studlar). But to return to our reading: whileWanda controls the image and the image-production, as my reading points out,this is a fantasy by a male narrator, and ultimately a male author.

9. Dollimore analyzes orientalizing literary discourses on homosexuality that can befound in the works of such writers as T. E. Lawrence, André Gide, Oscar Wilde,and Jean Genet.

10. Noyes does not ignore the existence of the narrative frame, but nevertheless baseshis reading of masochism in Venus in Furs on Severin’s text (Mastery of Submission68–76). Relatively similar in her approach, Stewart acknowledges the novel’sstructure—“the story is embedded in a narrative frame”—and even points tothe structure of the frame—“The narrative frame itself is divided into two parts”(63). But she abandons these observations for a reading of the text that she con-siders to be “the story proper” (58–88). Silverman offers no textual reading ofVenus in Furs but only a few references in Male Subjectivity. Studlar, followinga Deleuzian approach to masochism, ignores the frame, although she mentions a“turnaround” in Wanda and Severin’s relationship (In the Realm of Pleasure 23).Similar to Noyes and Stewart, Studlar employs the term masochism to refer tothe structure of the fantasy of submission of the dominant partner (18–26). Hersole focus on Severin’s fantasy of submission, however, leads to a significant mis-reading when transferred to other texts, in her case, film. In her reading of vonSternberg’s The Devil Is a Woman, Studlar asserts:

Don Pascale’s actions parallel those of Severin in Sacher-Masoch’s Venus inFurs. Like Severin, he is introduced as the disillusioned, even “dephantasized”narrator of his own incredible story. He relates a tale of fleeting, unresolvedencounters with Concha Perez, the obscure object of his masochistic desire.After Concha leaves him for the last time, Don Pasquale’s military career isruined by the public scandal caused by their affair. Left an aged, broken man,he claims he has “not looked at a woman in three years” (61).

178 Notes

However, Severin is not a broken man at the end of Venus in Furs, but instead aman reassured in his patriarchal position.

11. Emberley relies here on Grosz, “Lesbian Fetishism?”12. The translation is quoted after Stewart; the German quotation is published on

the back cover of Koschorke (Stewart 18).13. There are no readily available audience studies for the turn-of-the-century

Galician reading audience. But even in relationship to contemporary audience ofthe popular, such studies are tentative, argues Brunt, who suggests that “on a the-oretical level, researchers in cultural studies have tended to construct audiences as‘imagined communities’” (69), referring here to the concept of “imagined com-munities” developed by Anderson. However, Brunt’s claim relies on a slippagebetween whether the researcher or the readers imagine the community. For anoverview of the debate surrounding popular literature around 1900, see Storim.

Chapter 3

1. The two terms “pro-s/m lesbians” and “anti-porn feminists” are shorthand for thetwo positions in a debate that I elaborate on later in this chapter. I am aware thatthe two terms are reductive but because they most clearly (while reductively)demarcate the opposing positions, they also reference the polarity of the debatethat only later enabled differentiated accounts. For a critique of the reductivenature of the terms of the debate, see Cormican.

2. The issue of pornography with regard to Treut’s films is raised by MurielCormican, who faults the critical discourse on them for being silent on “the issueof pornography in Treut’s films” (179). She argues that the films are “depen-dent on pornography, they are not identical with it” (193). Cormican criticizesTreut’s own statements in interviews and the discourse concerning Treut for“denouncing anti-porn feminists” (191). While I appreciate Cormican’s sophisti-cated reading of the negotiation of the pornographic gaze in Treut’s films and herattempt to tease out the subtleties in the feminist debate concerning it, I find thatshe herself reproduces some of the reductionism of the debate in her argumentagainst the anti-anti-pornography rhetoric by conflating Treut, her fans, and hercritics: “by simply denouncing anti-porn feminists and assuming that Treut fanscannot but feel the same, Treut and some of the critics get caught up in a level ofrejection that Drucilla Cornell deems common in the pro- and anti-pornographydebates, namely, projection and displacement” (191). Cormican herself misrepre-sents the position of “the critics” in the following representative statement: “WhileTreut’s and the critics’ anti-anti-porn discourse suggests that all pornography—including mainstream pornography that frequently reinscribes the traditionalrelations between sex, gender, and desire—prompts viewers to investigate theirown sexuality, sensuality, and ultimately their identity, this is not at all whatthe films suggest” (187–88). I hope to have shown so far that it is the reversalof positions in masochistic aesthetics that allows filmmakers and writers to

Notes 179

investigate power and sexuality. I am aware that masochistic aesthetics hovers onthe edges of pornography and provides its own genre for pornography preciselybecause the intersection of power and sexuality is central to masochistic aes-thetics and to significant portions of the porn industry, without, however, there-fore being interchangeable.

3. Mechthild Grossmann acted in two other films: Wilhelm’s All of Me and Link’sNirgendwo in Afrika, as well as in several television dramas.

4. For an overview of his essays and exhibitions, see Peter Weibel. He also acted inExport’s Invisible Adversaries and Summereder’s Zechmeister, and wrote the scriptfor Export’s Menschenfrauen.

5. See Teresa de Lauretis, “Film and the Visible.” In addition to her role in Borden’sBorn in Flames, Sheila McLaughlin acted in only a handful of films, some of themin Germany however, namely Enigholz’s Normalsatz and Mikesch’s Das Frühstückder Hyäne. McLaughlin directed Committed and She Must Be Seeing Things.

6. See Dee; Dee and Truck. Bettina Wilhelm’s film All of Me (1991) is the fictionalstory of a transvestite singer in the 1920s and 30s that features Georgette Dee andMechthild Grossmann in the two main roles and for which Georgette Deewrote the script.

7. The representative films mentioned here are Stephen Norrington’s Blade (1998),Lars van Trier’s Breaking the Waves (1996), and Graham Rose’s Mrs. Meitlemeihr(2002).

8. The name Dorchen Leidholdt is an obvious pseudonym, “Dorchen” the diminu-tive of an old-fashioned German name and “Leidholdt” a combination of old-fashioned nouns implying the inclination to suffering. The text is presumablytranslated, from English in the American context, but while the name of the trans-lator is given, the author’s name is not provided. By using old-fashioned diminu-tive forms, the editors use irony to distance themselves from the assumedfeminine desire to suffer.

9. Since weiblich can be translated as “feminine” and “female,” I reserve the term“feminine masochism” for references to Freud’s concept of feminine masochism.I use “female masochism” as a translation for weiblicher Masochismus and “women’smasochism” for general discussions about women and masochism.

10. For a detailed and incisive account of the subtle history of artistic and left-intellectual anti-Americanism of postwar West-Germany, see Gemünden,Framed Visions. His chapter “The Queer Utopia of Monika Treut” discussesTreut’s Virgin Machine in the context of Americanization and mass culture,claiming that this film’s engagement with queer popular culture in the UnitedStates enables the film to deconstruct oppositions (177–94). For a discussionof how “discourses of sexuality and place intersect” in Treut’s My Father IsComing, see Kuzniar, “Lesbians Abroad: The Queer Nationhood of MonikaTreut et al.” (157–73). For a helpful collection of essays discussing whether theAmericanization of German popular culture should be addressed in terms ofimperialism or globalization, see Mueller.

11. Mikesch, however, was the cinematographer for most of Treut’s films, includ-ing the later Female Misbehavior, Erotique, Gendernauts, Made in Taiwan,

180 Notes

Tigerwomen Grow Wings, and Warrior of Light. She has continually worked as acinematographer since the early 1970s, and has in addition directed, written, andedited several other films. She has received several important awards in Germany.While she is a highly respected cinematographer and documentary filmmaker inGermany, she is less associated with transnational queer cinema.

12. Her videos are not commercially distributed: Berlinale 80, Space Chase, I ReallyNeed Communication, Kotz-Bitchband, The Woman from the Day after Tomorrow,and Bondage, which is part of the omnibus film Female Misbehavior (see Knight,Women and the New German Cinema 209).

13. Erotique consists of three erotic shorts by feminist filmmakers Lizzie Borden,Monika Treut, and Clara Law, each one set in the filmmaker’s home country. ForTreut’s account of her experience in Hollywood, see Gemünden, Kuzniar, andPhillips 9–10.

14. It was not the funding situation in Germany that led Treut to the United States,since The Virgin Machine received a budget from the Hamburg Film Office andthe Hamburg television station, and My Father Is Coming was sponsored byboth the Hamburger Filmbüro and co-produced by the NDR (North GermanRadio) Hamburg (Knight, Women and the New German Cinema 152; WernerPresse, Press Packet My Father Is Coming, n. p. )

15. Merck and Modleski also refer to this short story.16. Hart relies on Brown, “Feminist Hesitations, Postmodern Exposures.” Brown

developed her argument further in States of Injury, from which I take the quotesin this section.

17. Modleski and Merck are exceptions, their analysis put equal pressure on theopposing positions.

18. While Oosterhuis does not make this point explicitly, his historical investigationand his argument against “a presentist perspective” both imply it (8).

19. The Cruel Woman remains one of the few positive feminist readings of Sade andSacher-Masoch among a very limited number of feminist investigations of theirwork. For other works of this period that engage in a feminist discussion of Sade,see Beauvoir and Carter.

20. Friedrich Holländer’s (later Frederick Hollander) song is included in RobertSiodmark, Looking for His Murderer (Der Mann, der seinen Mörder sucht, 1931).The song is also central in Cavani’s Night Porter. For a discussion of Cavani, seeNadeau.

21. We are not introduced to the character, and because the image is dark andMährsch moves through hanging strips, it is hard to recognize him. Within thenarrative it is not logical that we see Mährsch crawling at the beginning ofthe film, because his character is introduced only later. Viewers would expect thisto be Gregor as an embodiment of the male masochist, an assumption I held inan earlier version. Treut herself corrected my assumption.

22. Despite their different political and theoretical positions, the following essaysfrom the late 1980s and early 90s share this particular interest: Adams; Grosz,“Lesbian Fetishism?”; and McClintock, “The Return of Female Fetishism.”

Notes 181

23. For a good overview of the theorizations of the fetish, see Gamman and Makinen,“Three Types of Fetishism: A Question of Definition” 14–50.

24. To create an illusion of continuity, the camera traditionally stays on one side of theaction, ensuring “consistent left-right spatial relations between objects from shotto shot” (Bordwell and Thompson 480). When the camera crosses the 180-degreeline, the illusion of continuity is interrupted. Most often this is employed for acomedic effect or in art films to emphasize the construction of illusion in cinema.

25. According to Laplanche and Pontalis, daydreams are characterized by subjec-tivization; they take place as I-narrations, while original scenes are characterizedby the absence of subjectivization but the subject is present in the scene. Theexample Laplanche and Pontalis use to illustrate this is the masochistic fantasy of“a child is beaten.” The child is one character among many. Like in “a fatherseduces a daughter,” the subjsect might be located in the daughter, the father, orin the term “seduces” (22–23).

26. Grosz (in her review of de Lauretis’s The Practice of Love) is one of the few authorswho questions the presumption that lesbian and feminist interests are necessarilyidentical and can be articulated through the same theoretical model (“Labors ofLove” 276).

Chapter 4

1. As there is no English translation available, all translations of Die Liebe des Plato areby me. I follow the 2001 reprint. Before that no modern translation was available.

2. In the course of the chapter I will refer to Henryk primarily as Henryk, eventhough he signs about half the letters with his assumed name, “Plato.” I will referto the female main character as Nadeschda, but her cross-dressed character, fol-lowing Henryk’s description, as Anatol and then use the grammatical male pro-noun. At points where it is important to me to point to the doubling of theiridentity, I will refer to him as Henryk/Plato and her as Nadeschda/Anatol.

3. Noyes has argued against the tradition of collapsing Sacher-Masoch’s biographywith his work (“The Importance of the Historical Perspective”).

4. See “Appendix III: The Adventure with Ludwig II (told by Wanda)” (Sacher-Masoch, Venus in Furs 281–93) and “Anhang II: Die Begegnung mit Ludwig II.Aufgezeichnet von Wanda” (Sacher-Masoch, Venus im Pelz 143–61).

5. Michael Gratzke states: “Plato experienced the honor of an individual publica-tion in the twenties of the twentieth century for the last time” (Nachwort 103).

6. For an extensive discussion of mise-en-scène of the frozen landscape and its asso-ciation with the female despot in the opening of Sacher-Masoch’s Ein weiblicherSultan (A Female Sultan), see my article “Leopold von Sacher-Masoch’s Ein weib-licher Sultan.”

7. For a turn-of-the-century understanding of graphology, albeit articulated later,see Otto Weininger’s mention of graphology in the context of characterology(104–5).

182 Notes

8. Largier reproduces two examples of “The Temptation of Saint Antonius” (“DieVersuchung des Heiligen Antonius”), one by Albrecht Dürer (1515) and one byFélicien Rops (1878; Musée Félicien Rops, Namur) (66, 67).

9. I thank Erik Kligerman for making the latter point to me.10. See Santner 103–45, also Weininger 301–30.11. To my surprise, all of the graduate students in my 2004 seminar “Gender and

Sexuality at the Fin de Siècle” read the novel that way.12. The information follows Hirschfeld (1054); he does not provide a bibliography

for this text.13. The German terms are in the original; I have provided the translations.14. The dinner is attended by nine Florentines. When the dinner is over, two are

called away and the remaining seven people settle into giving speeches. Theevening begins with a reading aloud of the Symposium, and then each guest issupposed to comment on a section. According to Jayne, “[w]hat actually hap-pens, however, is that only five of the guests give speeches, the second and sev-enth speech do not mention the Symposium at all, and in only one, the sixth, isthere a sentence-by-sentence commentary on any part of Plato’s dialogue” (9). Inhis account of the soul, Ficino follows “three principal groups of authorities, the‘Latin’ Platonists, the scholastic theologians, and the ‘Greek’ Platonists whom hehad just translated. In writing about the human soul, Ficino slips eclecticallyfrom one to another among these three sources” (Jayne 13).

15. Again, in the German text the grammatical referent is female because the noun isthe soul (die Seele), which creates an ambivalence regarding the gender of thesubject.

16. For a discussion of the role of women in Plato’s political theory, see Buchan.17. In order to explain her argument, Garber offers three examples: “the Third

World, the third actor, and the Lacanian Symbolic” (11). I thank Lukas Badenfor pointing out that because Garber employs cross-dressing simultaneously as athird term to binaries and as deconstructing the existence of categories, she canonly explain her definition of “the third term” through metaphor and not histor-ical development. Thus she ends up with a transhistorical category.

18. I thank Nora Alter for pointing out the aspect of appropriation in Garber’s use ofthe term.

19. Breger references Widdig here.

Chapter 5

1. I use the male pronouns for the cross-dressing characters, even though many cross-dressers identify as female and wish to be addressed with and referred to by thefemale form. However, experience with earlier drafts of this discussion has shownthat female pronouns can be confusing to readers who have not seen the film. Inaddition, the characters are not living cross-dressers but film characters, and the useof the male pronouns also points to the gap between roles and actors. However, Ifind the use of the male pronoun dissatisfying and wish to acknowledge that the

Notes 183

male pronoun is intended as a reader-friendly but not perfect linguistic referentto those who exceed the grammatical gender binary.

2. One exception to this is the recent rise of interest in approaches to visual culturebased on Frantz Fanon.

3. The review in the German weekly magazine Der Spiegel is representative. Clark,however, also lists reviews that criticize the film “for being melodramatic andinsufficiently ‘realistic’” (562). Clark argues that this line of criticism “repro-duce[s] common assumptions that ‘minority film’ should offer semi-documentaryrepresentation of a supposed (sub)cultural reality [. . . ], but it also continues thetraditional devaluation of melodrama as genre” (562).

4. My article, “Masochism, Marginality, and Metropolis” (2004) and Clark’s“Transculturation” are the only published essays entirely dedicated to the film inaddition to Clark’s dissertation chapter. Göktürk’s “Turkish Women on GermanStreets” references the film, as does Breger. I am aware of several additional essayson the film in progress for publication.

5. Clark points out one significant exception: “Other uses of landscape make lesslogical geographic sense: the scenes in the industrial wasteland where Lola isrepeatedly harassed were filmed in Rummelsberg, in East Berlin’s Lichtenbergdistrict, an area notorious for neo-Nazi activity, and through which none of thefilm’s characters would ever actually need to walk” (“Transculturation” 564).These sites, I argue, function as the backdrop for the part of the narrative inten-tionally not coded as realist.

6. For an analysis of public restrooms in railway stations in apartheid South Africaas a site of interracial homosexual encounters, see Leap.

7. All translations of Lola and Billy the Kid follow the film’s subtitles.8. The most important intertextual reference here—already a campy reworking of

a stock character of Hollywood film—is the final descent of the stairs of NormaDesmond in Billy Wilder’s 1950 Sunset Boulevard.

9. A critique of the figure of the Turkish woman in need of Western liberation can befound in Mandel. For a discussion of the methodological concerns regarding thosetropes of oppression and liberation, see Adelson, Making Bodies, Making History.

10. This also applies to the work of Hart, whose book I have discussed extensively inearlier chapters.

11. Mulvey’s marginalization of other aspects of identity besides gender has led to anincreased theorization of (homo)sexual desire as well as ethnic and racial identityin the context of spectatorship, theorizations that are important for my discus-sion of Lola and Billy the Kid (see Gaines, Mayne).

12. Heide Schlüpmann also makes the term “masochistic blindness” productive forher reading of G. W. Pabst’s Diary of a Lost Girl (1929).

13. For additional discussion of women and masochism, see my article “Euch aus-peitschen, ihr ewigen Masochistinnen” (2000).

184 Notes

Works Cited

“Abgelehnt?” Frauen und Film 36 (Feb. 1984): 111–12.Adams, Parveen. “Of Female Bondage.” In Between Feminism and Psychoanalysis,

edited by Teresa Brennan, 247–65. New York: Routledge, 1989.Adelson, Leslie A. Making Bodies, Making History: Feminism and German Identity.

Lincoln, NE: University of Nebraska Press, 1993.———. The Turkish Turn in Contemporary German Literature: Toward a New Critical

Grammar of Migration. New York: Palgrave, 2005.Alexander, Martha. “Passion Play.” In SAMOIS, Coming to Power, 230–44.Althen, Michael. “Leidenschaften—Verführung: Die grausame Frau von Elfi Mikesch

und Monika Treut.” Süddeutsche Zeitung 24 Feb. 1986.Anderson, Benedict. Imagined Communities: Reflections of the Origin and Spread of

Nationalism. London: Verso, 1983.Appadurai, Arjun. Modernity at Large: Cultural Dimensions of Globalization.

Minneapolis: University of Minnesota Press, 1996.Apter, Emily. “The Story of I: Luce Irigaray’s Theoretical Masochism.” National

Women’s Studies Association Journal 2.2 (Spring 1990): 186–98.Arscott, Caroline, and Katie Scott, eds. Manifestations of Venus: Art and Sexuality.

Manchester, UK: Manchester University Press, 2000.Ataman, Kutlu . “Interview.” http://www.german-cinema.de/magazine/1998/01

/prodreport/4-produkt_E. html (accessed January 1998).———. Long Streams. Copenhagen: Nikolaj, 2002.———. A Rose Blooms in the Garden of Sorrows. Vienna: BAWAG Foundation, 2002.Bachofen, Johann Jakob. 1861. Das Mutterrecht. Frankfurt a. M.: Suhrkamp, 1975.Beauvoir, Simone de. The Marquis de Sade: An Essay. New York: Grove Press, 1953.Bell, David. “Fragments for a Queer City.” In Pleasure Zones: Bodies, Cities, Spaces,

edited by David Bell, Jon Binnie, Ruth Holliday, Robyn Longhurst, and RobinPeace, 84–102. Syracuse: Syracuse University Press, 2001.

Bersani, Leo. “Is the Rectum a Grave?” October 43 (1987): 197–222.Betts, Paul, and Greg Eghigian, eds. Pain and Prosperity: Reconsidering Twentieth-

Century German History. Stanford, CA: Stanford University Press, 2003.Bhabha, Homi. “The Other Question: The Stereotype and Colonial Discourse.” In

Twentieth-Century Literary Theory: A Reader, edited by K. M. Newton, 293–301.New York: St. Martin’s Press, 1997.

g

Binnie, Jon. “The Erotic Possibilities of the City.” In Pleasure Zones: Bodies, Cities,Spaces, edited by David Bell, 103–28. Syracuse: Syracuse University Press, 2001.

Blüher, Hans. Die Rolle der Erotik in der männlichen Gesellschaft. Jena: EugenDiederichs, 1917.

Bordwell, David, and Kristin Thompson. Film Art: An Introduction. New York:McGraw-Hill, 1997.

Bourdieu, Pierre. The Field of Cultural Production: Essays on Art and Literature. NewYork: Columbia University Press, 1993.

Bower, Kathrin. “Outing Hybridity: Polymorphism, Identity, and Desire in MonikaTreut’s Virgin Machine.” The European Studies Journal 17 (2000): 23–40.

Boxer, Sarah. “Masochism Means Never Having to Say ‘Stop! Stop! Enough!’” TheNew York Times 27 Jan. 2001. http://www.nytimes. com/2001/01/27/arts/27MASO. html (accessed January 2001).

Brauerhoch, Annette. “Berlinale 1991—Sexualität und Geschichte in einigen Filmenvon Frauen.” Frauen und Film 50/51 (1991): 149–58.

Breger, Claudia. “Queering Macho-Identities? Roman- und Filmanalysen aus derPerspektive angloamerikanischer Männlichkeitsforschung.” In Un/Sichtbarkeitender Differenz. Beiträge zur Gender-Debatte in den Künsten, edited by Annette JaelLehmann, 119–43. Tübingen: Stauffenburg, 2001.

Bronfen, Elisabeth. Over Her Dead Body: Death, Femininity, and the Aesthetic. NewYork: Routledge, 1992.

Brown, Wendy. “Feminist Hesitations, Postmodern Exposures.” differences: A Journalof Feminist Cultural Studies 3. 1 (1991): 63–84.

———. States of Injury: Power and Freedom in Late Modernity. Princeton: PrincetonUniversity Press, 1995.

Brunt, Rosalind. “Engaging with the Popular: Audiences for Mass Culture and Whatto Say about Them.” In Cultural Studies, edited by Lawrence Grossberg, CaryNelson, and Paula A. Treichler, 69–76. New York: Routledge, 1992.

Buchan, Morag. Women in Plato’s Political Theory. New York: Routledge, 1999.Burgard, Roswitha. “Weiblicher Masochismus legitimiert Männergewalt.” Burgard

and Rommelspacher, Leideunlust, 41–62.Burgard, Roswitha, and Birgit Rommelspacher. Leideunlust: Der Mythos vom weib-

lichen Masochismus. Berlin: Orlanda Frauenverlag, 1989.Butler, Judith. Bodies That Matter: On the Discursive Limits of “Sex.” New York:

Routledge, 1993.———. Gender Trouble: Feminism and the Subversion of Identity. NewYork:

Routledge, 1990.———. “Imitation and Gender Insubordination.” In Inside/Out: Lesbian Theories,

Gay Theories, edited by Diana Fuss, 13–31. New York: Routledge, 1991.———. The Psychic Life of Power: Theories in Subjection. Stanford, CA: Stanford

University Press, 1997.Califia, Pat. Doing It for Daddy: Short and Sexy Fiction About a Very Forbidden Fantasy.

Boston: Alyson, 1994.———, ed. Public Sex: The Culture of Radical Sex. Pittsburgh: Cleis, 1994.Caplan, Paula J. The Myth of Women’s Masochism. New York: E. P. Dutton, 1985.

186 Works Cited

Carter, Angela. The Sadean Woman. London: Virago, 1979.Case, Sue-Ellen. “Seduction: The Cruel Woman.” The Domain-Matrix: Performing

Lesbian at the End of Print Culture, 179–83. Bloomington: Indiana UniversityPress, 1996.

Clark, Christopher. “Sexuality and Alterity in German Literature, Film, andPerformance, 1968–2000”. Ph. D. dissertation, Cornell University, 2003.

———. “Transculturation, Transe Sexuality, and Turkish Germany: Kutlu Ataman’sLola and Bilidikid.” German Life and Letters 59: 4 (October 2006): 555–72.

Cleugh, James. The First Masochist: A Biography of Leopold von Sacher-Masoch. NewYork: Stein and Day, 1967.

Clover, Carol J. Men, Women, and Chain Saws. Princeton: Princeton University Press,1992.

Cormican, Muriel. “Pro-Porn Rhetoric and the Cinema of Monika Treut.” Women inGerman Yearbook 19 (2003): 179–99.

Creet, Julia. “Daughter of the Movement: The Psychodynamics of Lesbian S/MFantasy.” In differences: A Journal of Feminist Cultural Studies (1991; SpecialVolume on Queer Theory: Lesbian and Gay Sexualities, edited by Teresa DeLauretis): 135–59.

Davis, Katherine. “Introduction: What We Fear We Try to Keep Contained.”SAMOIS, Coming to Power, 7–13.

De Lauretis, Teresa. “Film and the Visible.” In How Do I Look? Queer Film and Video,edited by Bad Object Choices, 223–76. Seattle: Bay Press, 1991.

———. The Practice of Love: Lesbian Sexuality and Perverse Desire. Bloomington:Indiana University Press, 1994.

Dean, Carolyn J. The Self and Its Pleasures: Bataille, Lacan, and the History of theDecentered Subject. Ithaca, NY: Cornell University Press, 1992.

Dean, Mitchell. Governmentality: Power and Rule in Modern Society. London: SagePublications, 1999.

Dee, Georgette. Gib mir Liebeslied. Munich: dtv, 1998.Dee, Georgette and Terry Truck. Georgette Dee und Terry Truck: Das Album. Munich:

Knaur, 2001.Deleuze, Gilles. “Coldness and Cruelty.” 1967. In Masochism, 9–138. New York:

Zone, 1991.Dijkstra, Bram. Idols of Perversity: Fantasies of Feminine Evil in Fin-de-Siècle Culture.

New York: Oxford University Press, 1986.Doane, Mary Ann. Femmes Fatales: Feminism, Film Theory, Psychoanalysis. New York:

Routledge, 1991.———. “Film and Masquerade: Theorizing the Female Spectator.” In Feminist Film

Theory: A Reader, edited by Sue Thornton, 13–-45. New York: New YorkUniversity Press, 1999.

Dollimore, Jonathan. “Desire and Difference: Homosexuality, Race, Masculinity.” InRace and the Subject of Masculinities, edited by Harry Stecopoulos and MichaelUebel, 17–44. Durham, NC: Duke University Press, 1997.

Duggan, Lisa, and Nan D. Hunter. Sex Wars: Sexual Dissent and Political Culture. NewYork: Routledge, 1995.

Works Cited 187

g

Elsaesser, Thomas. “Cinema of Vicious Circles.” In Fassbinder, edited by Tony Rayns,24–36. London: British Film Institute, 1980.

———. “Historicizing the Subject: A Body of Work.” New German Critique 63(1994): 1134.

Emberley, Julia V. The Cultural Politics of Fur. Ithaca, NY: Cornell University Press,1997.

Emma 12 (Dec. 1987).Endfilm Verleih, Press packet. Seduction: The Cruel Woman. Berlin: Endfilm Verleih,

1985.Farin, Michael, ed. Leopold von Sacher-Masoch: Materialien zu Leben und Werk. Bonn:

Bouvier, 1987.Fenner, Angelica. “Turkish Cinema in the New Europe: Visualizing Ethnic Conflict

in Sinan çetin’s Berlin in Berlin.” Camera Obscura 44 (2000): 105–48.Fernbach, Amanda. Fantasies of Fetishism: From Decadence to the Post-Human. New

Brunswick, NJ: Rutgers University Press, 2002.Ficino, Marsilio. Commentary on Plato’s Symposium on Love. Translated, with an intro-

duction and notes by Sears Jayne. Dallas: Spring Publications, 1985.Finke, Michael C. “Sacher-Masoch, Turgenev, and Other Russians.” In One Hundred

Years of Masochism: Literary Texts, Social and Cultural Contexts, edited by MichaelC. Finke and Carl Niekerk, 119–37. Atlanta, GA: Rodopi, 2000.

Flinn, Caryl. “The Body in the (Virgin) Machine.” Arachne 3.2 (1996): 48–66.Foucault, Michel. Discipline and Punish: The Birth of the Prison. Translated by Alan

Sheridan. Harmondsworth: Penguin, 1977.———. “Governmentality.” Power: Essential Works of Foucault, 1954–1984. Vol. 3.

New York: The New Press, 2000. 201–22.———. The History of Sexuality. Vol I: An Introduction. Translated by Robert Hurley.

New York: Random House, 1978.———. The History of Sexuality. Vol II: The Use of Pleasure. Translated by Robert

Hurley. New York: Random House, 1985.———. The History of Sexuality. Vol III: The Care of Self. Translated by Robert Hurley.

New York: Random House, 1986.Fraisse, Geneviève, and Michelle Perrot, eds. Geschichte der Frauen: 19. Jahrhundert.

Frankfurt a. M.: Büchergilde Gutenberg, 1994.Freud, Sigmund. “‘A Child Is Being Beaten’: A Contribution to the Study of the

Origin of Sexual Perversions.” 1919. In Sigmund Freud. The Standard Edition,179–204. London: Hogarth Press, 1955.

———. “The Economic Problem of Masochism.” 1924. In Essential Papers onMasochism, edited by Margaret Ann Fitzpatrick Hanly, 274–85. New York: NewYork University Press, 1995.

Gaines, Jane. “White Privilege and Looking Relations. Race and Gender in FeministFilm Theory.” In Issues in Feminist Film Criticism, edited by Patricia Erens,197–214. Bloomington: Indiana University Press, 1990.

Gallagher, Bob. “Michel Foucault: An Interview: Sex, Power, and the Politics ofIdentity.” The Advocate 7 Aug. 1948: 26–58.

188 Works Cited

Gamman, Lorraine, and Merja Makinen. Female Fetishism. New York: New YorkUniversity Press, 1994.

Garber, Marjorie. Vested Interests: Cross-Dressing and Cultural Anxiety. New York:Routledge, 1992.

Gemünden, Gerd. Framed Visions: Popular Culture, Americanization, and theContemporary German and Austrian Imagination. Ann Arbor: University ofMichigan Press, 1998.

———. “How American Is It? The United States as Queer Utopia in the Cinema ofMonika Treut.” In A User’s Guide to German Cultural Studies, edited by ScottDenham, Irene Kacandes, and Jonathan Petropoulos, 333–53. Ann Arbor:University of Michigan Press, 1997.

Gemünden, Gerd, Alice Kuzniar, and Klaus Phillips. “From Taboo Parlor to Porn andPassing: An Interview with Monika Treut.” Film Quarterly 5.3 (Spring 1997): 2–12.

Gerstenberger, Katharina. “Her (Per)version: The Confessions of Wanda von Sacher-Masoch.” Women in German Yearbook 13 (1997): 81–100.

———. Truth to Tell: German Women’s Autobiographies and Turn-of-the-CenturyCulture. Ann Arbor: University of Michigan Press, 2000.

Gever, Martha, John Greyson, and Pratibha Parmar, eds. Queer Looks: Perspectives onLesbian and Gay Film and Video. New York: Routledge, 1993.

Göktürk, Deniz. “Migration und Kino—Subnationale Mitleidskultur oder transna-tionale Rollenspiele?” In Interkulturelle Literatur in Deutschland. Ein Handbuch,edited by Carmine Chiellino, 329–47. Stuttgart: Metzler, 2000.

——— (1999). “Turkish Delight—German Fright: Migrant Identities inTransnational Cinema.” Transnational Communities—Working Paper Series(January) [An Economic and Social Research Council Programme at theUniversity of Oxford]: 1–14.

———. “Turkish Women on German Streets: Closure and Exposure in TransnationalCinema.” In Spaces in European Cinema, edited by Myrto Konstantarakos, 64–76.Portland, OR: Intellect, 2000.

———. “Verstöße gegen das Reinheitsgebot: Migrantenkino zwischen wehleidigerPflichtübung und wechselseitigem Grenzverkehr.” In Multikulturalismus undPopulärkultur, edited by Ruth Mayer and Mark Terkissidis, 99–114. St. Andrä:Hannibal Verlag, 1998.

Goethe, Johann Wolfgang von. Die Leiden des jungen Werthers. 1774. Munich: dtv,1997.

———. Winckelmann und sein Jahrhundert. 1805. Hildesheim: Olms, 2005.Gratzke, Michael. Liebesschmerz und Textlust: Figuren der Liebe und des Masochismus

in der Literatur. Würzburg: Königshausen & Neumann, 2000.———. Afterword. Sacher-Masoch, Die Liebe des Plato, 102–13.Gronberg, Tag. “Deco Venus.” Arscott and Scott, Manifestations of Venus, 142–55.Grosz, Elizabeth A. “The Labors of Love: Analyzing Perverse Desire: An Interrogation

of Teresa de Lauretis’s The Practice of Love.” differences: A Journal of FeministCultural Studies 6 (1995; Special Volume on More Gender Trouble: FeminismMeets Queer Theory): 155–73.

Works Cited 189

———. “Lesbian Fetishism?” differences: A Journal of Feminist Cultural Studies 3.2(1991): 39–54.

Halberstam, Judith. Female Masculinity. Durham, NC: Duke University Press, 1998.Halperin, David M. Saint Foucault: Towards a Gay Hagiography. New York: Oxford

University Press, 1995.Hart, Lynda. Between the Body and the Flesh: Performing Sadomasochism. NewYork:

Columbia University Press, 1998.Hirschfeld, Magnus. The Homosexuality of Men and Women. 1913. Introduction by

Vern L. Bullough. Amherst: Prometheus Books, 2000.Hooks, Bell. Black Looks: Race and Representation. Boston: South End Press, 1992.Hössli, Heinrich. Eros, die Männerliebe der Griechen, ihre Beziehung zur Geschichte,

Erziehung, Literatur und Gesetzgebung aller Zeiten. Die Unzuverlässigkeit deräusseren Kennzeichen im Geschlechtsleben des Leibes und der Seele oder über platonis-che Liebe, ihre Würdigung und Entwürdigung für Sitten-, Natur- und Völkerkunde.Vols. 1–2. St. Gallen: C. P. Scheitlin, 1836, 1838.

Hyams, Barbara. “Causal Connections: The Case of Sacher-Masoch.” In OneHundred Years of Masochism: Literary Texts, Social and Cultural Contexts, edited byMichael C. Finke and Carl Niekerk, 139–54. Amsterdam: Rodopi, 2000.

Ivory, Yvonne. “The Urning and His Own: Individualism and the Fin-de-SiècleInvert.” German Studies Review 26.2 (2003): 333–52.

Jayne, Sears. Introduction. In Commentary on Plato’s Symposium on Love, by MarsilioFicino, vii–xxii. Dallas: Spring Publications, 1985.

Kaplan, E. Ann. Looking for the Other: Feminism, Film, and the Imperial Gaze. NewYork: Routledge, 1997.

Karenberg, Axel. “Schriftstellerische Neigungen? Sadismus und Masochismus.” Amor,Äskulap & Co: Klassische Mythologie in der Sprache der modernen Medizin, 170–75.Stuttgart: Schattauer, 2005.

-ke. “Quälerei, ein Film über Masochismus.” Stuttgarter Zeitung 22 March 1986.Kilb, Andreas. “Zweifache Tortur. Elfi Mikeschs und Monika Treuts Film Verführung:

Die grausame Frau.” Frankfurter Allgemeine Zeitung 15 April 1986.Kitt. “Taking the Sting out of S/M.” SAMOIS, Coming to Power, 60–63.Klotz, Marcia. “The Queer and Unqueer Spaces of Monika Treut’s Films.” In

Triangulated Visions: Women in Recent German Cinema, edited by Ingeborg MajerO’Sickey and Ingeborg von Zadow, 65–77. Albany: State University of New YorkPress, 1998.

Knight, Julia. “The Meaning of Treut?” In Immortal, Invisible: Lesbians and theMoving Image, edited by Tamsin Wilton, 34–51. New York: Routledge, 1995.

———. Women and the New German Cinema. New York: Verso, 1992.Knops, Tilo Rudolf. “Die grausame Frau: Verführungen.” Konkret 4 (1985): 79–80.Koestenbaum, Wayne. Double Talk: The Erotics of Male Literary Collaboration. New

York: Routledge, 1989.Kolinsky, Eva. “Non-German Minorities in Contemporary German Society.” In

Turkish Culture in German Society Today, edited by David Horrocks and EvaKolinsky, 71–111. Providence, RI: Berghahn, 1996.

190 Works Cited

Koschorke, Albrecht. Leopold von Sacher-Masoch: Die Inszenierung einer Perversion.Munich: Piper, 1988.

Kosta, Barbara. “Muttertrauma: Anerzogener Masochismus. Waltraud AnnaMitgutsch, Die Züchtigung und Elfriede Jelinek, Die Klavierspielerin.” In Mütter,Töchter, Frauen: Weiblichkeitsbilder in der Literatur, edited by Helga Kraft and ElkeLiebs, 243–65. Stuttgart: J. B. Metzler, 1993.

Krafft-Ebing, Richard von. Psychopathia Sexualis: A Medico-Forensic Study. New York:Pioneer Publications, 1946.

———. Psychopathia Sexualis. 1912. 14th expanded edition. Munich: Matthes &Seitz, 1993.

Krauss, Rosalind. “Video: The Aesthetics of Narcissism.” In New Artists Video, editedby Gregory Battcock, 43–64. New York: E. P. Dutton, 1978.

Kürsat-Ahlers, Elcin. “The Turkish Minority in German Society.” In Turkish Culturein German Society Today, edited by David Horrocks and Eva Kolinsky, 113–35.Providence, RI: Berghahn Books, 1996.

Kuhn, Heike. “Freizügiges Grauen, grotesk vertändelt. Elfi Mikeschs FilmVerführung: Die grausame Frau.” Frankfurter Rundschau 14 April 1986.

Kuzniar, Alice A. The Queer German Cinema. Stanford, CA: Stanford UniversityPress, 2000.

Lacan, Jacques. “Kant with Sade.” 1962. Translated by James B. Swenson, Jr. October51 (Winter 1989): 55–75.

Laplanche, Jean, and Jean-Bertrand Pontalis. “Fantasy and the Origins of Sexuality.”In Formations of Fantasy, edited by Victor Burgin, James Donald, and CoraKaplan, 5–34. New York: Routledge, 1986.

Largier, Niklaus. Lob der Peitsche: Eine Kulturgeschichte der Erregung. Munich: C. H.Beck, 2001.

Leap, William L. “‘Strangers on a Train’: Sexual Citizenship and the Politics of PublicTransportation in Apartheid Cape Town.” In Queer Globalizations: Citizenshipand the Afterlife of Colonialism, edited by Arnaldo Cruz-Malavé and Martin F.Manalansan IV, 219–35. New York: New York University Press, 2002.

Leidholdt, Dorchen. “Freie Sklavinnen?” Schwarzer, Sexualität, 190–99.Lenzer, Gertrud. “On Masochism: A Contribution to the History of a Phantasy and

Its Theory.” Signs: Journal of Women in Culture and Society 1.2 (1975): 277–324.Linden, Robin Ruth, Darlene R. Pagano, Diana E. H. Russell, and Susan Leigh Star,

eds. Against Sadomasochism: A Radical Feminist Analysis. San Francisco: Frog in theWell, 1982.

Linden, Robin Ruth. “Introduction: Against Sadomasochism.” Linden, Pagano,Russell, and Star, Against Sadomasochism, 1–15.

Lucy, Juicy. “If I Ask You to Tie Me Up, Will You Still Want to Love Me?” SAMOIS,Coming to Power, 29–40.

MacLeod, Catriona. Embodying Ambiguity: Androgyny and Aesthetics fromWinckelmann to Keller. Detroit, MI: Wayne State University Press, 1998.

Works Cited 191

Mandel, Ruth. “Turkish Headscarves and the ‘Foreigner Problem’: ConstructingDifference through Emblems of Identity.” New German Critique 46 (1989):27–46.

Marcus, Marie. “Ich war Masochistin.” Schwarzer, Sexualität, 200–204.———. A Taste for Pain: On Masochism and Female Sexuality. New York: St. Martin’s

Press, 1981.———. “Über die Enthüllung der furchtbaren Wahrheit.” Burgard and Rommel-

spacher, Leideunlust, 116–36.Markovits, Andrei S. “Introduction: Empire and Province.” Nationbuilding and the

Politics of Nationalism: Essays on Austrian Galicia, 1–22. Cambridge, MA: HarvardUniversity Press, 1982.

Massad, Joseph. “The Intransigence of Orientalist Desires: A Reply to Arno Schmitt.”Public Culture 15.3 (2003): 593–94.

———. “Re-Orienting Desire: The Gay International and the Arab World.” PublicCulture 14.2 (2002): 361–84.

Mayne, Judith. “Lesbian Looks: Dorothy Arzner and Female Authorship.” In How DoI Look, edited by Bad Object Choices, 103–35. Seattle: Bay Press, 1991.

McClintock, Anne. Imperial Leather: Race, Gender and Sexuality in the ColonialContest. New York: Routledge, 1995.

———. “Maid to Order: Commercial S/M and Gender Power.” In Dirty Looks:Women, Pornography, Power, edited by Pamela Church Gibson and Roma Gibson,207–31. London: British Film Institute, 1993.

———. “The Return of Female Fetishism and the Fiction of the Phallus.” NewFormations: Perversity 19 (Spring 1993): 1–22.

Mennel, Barbara. “Bruce Lee in Kreuzberg and Scarface in Altona: TransnationalAuteurism and Ghettocentrism in Thomas Arslan’s Brothers and Sisters and FatihAkın’s Short Sharp Shock.” New German Critique 87 (2002): 133–56.

———. “‘Euch auspeitschen, ihr ewigen Masochistinnen, euch foltern, bis ihr denVerstand verliert’: Masochismus in Ingeborg Bachmanns Romanfragment DasBuch Franza.” “Über die Zeit schreiben”: Literatur- und kulturwissenschaftliche Essayszum Werk Ingeborg Bachmanns 2. Edited by Monika Albrecht and Dirk Göttsche,111–27. Würzburg: Königshausen & Neumann, 2000.

———. “Leopold von Sacher-Masoch’s Ein weiblicher Sultan: Historischer Roman indrei Teilen (1873): Public Sadism/Private Masochism.” Modern Austrian Literature34. 1/2 (2001): 1–14.

———. “Local Funding and Global Movement: Minority Women’s Filmmaking andthe German Film Landscape of the Late 1990s.” Women in German Yearbook 18(2002): 45–66.

———. “Masochism, Marginality, and Metropolis: Kutlug Ataman’s Lola and Billythe Kid.” Studies in Twentieth Century Literature 28.1 (Winter 2004; SpecialVolume on Berlin Literature and Culture, edited by Stephen Brockmann):286–315.

192 Works Cited

———. “Masochistic Fantasy and the Racialized Fetish in Rainer Werner Fassbinder’sAli: Fear Eats Soul.” In One Hundred Years of Masochism: Literary Texts, Social andCultural Contexts, edited by Michael C. Finke and Carl Niekerk, 191–205.Amsterdam: Rodopi, 2000.

———. “Seduction, Sacrifice and Submission: Masochism in Postwar German Filmand Literature.” Ph. D. dissertation, Cornell University, 1998.

———. “Wanda’s Whip: Recasting Masochism’s Fantasy—MonikaTreut’s Seduction:The Cruel Woman.” In Triangulated Vision(s): Women in Recent German Cinema,edited by Ingeborg Majer O’Sickey and Ingeborg von Zadow, 153–63. Albany:State University of New York Press, 1998.

Merck, Mandy. Perversions: Deviant Readings by Mandy Merck. New York: Routledge,1993.

Miller, Karl. Doubles: Studies in Literary History. London: Oxford University Press,1987.

Modleski, Tania. “Lethal Bodies: Thoughts on Sex, Gender, and Representation fromthe Mainstream to the Margins.” Feminism without Women: Culture and Criticismin a “Postfeminist” Age, 135–63. New York: Routledge, 1991.

Mueller, Agnes C. German Pop Culture: How “American” Is It? Ann Arbor: Universityof Michigan Press, 2004.

Mulvey, Laura. “Visual Pleasure and Narrative Cinema.” In Feminism and FilmTheory, edited by Constance Penley, 57–68. New York: Routledge, 1988.

Nadeau, Chantal. “Girls on a Wired Screen: Cavani’s Cinema and Lesbian S/M.” InSexy Bodies: The Strange Carnalities of Feminism, edited by Elizabeth Grosz andElspeth Probyn, 211–31. New York: Routledge, 1995.

Nietzsche, Friedrich Wilhelm. On the Genealogy of Morals. Translated by W.Kaufmann and R. J. Hollingdale. New York: Vintage, 1969.

———. Thus Spoke Zarathustra. The Portable Nietzsche. Edited and translated by W.Kaufmann. New York: Viking, 1954.

Noyes, John K. “The Importance of the Historical Perspective in the Works ofLeopold von Sacher-Masoch.” Modern Austrian Literature 26.2 (1994): 1–20.

———. The Mastery of Submission: Inventions of Masochism. Ithaca, NY: CornellUniversity Press, 1997.

O’Dell, Kathy. Contract with the Skin: Masochism, Performance Art, and the 1970s.Minneapolis: University of Minnesota Press, 1998.

Oosterhuis, Harry. Stepchildren of Nature: Krafft-Ebing, Psychiatry, and the Making ofSexual Identity. Chicago: University of Chicago Press, 2000.

Pelliccia, Hayden. Introduction. Selected Dialogues of Plato: The Benjamin JowettTranslation, vii–xxii. New York: Modern Library, 2000.

“Perversity.” New Formations 19 (Spring 1993).Peter Weibel: Käthe-Kollwitz-Preis 2004. Catalogue, Akademie der Künste (Berlin:

Akademie der Künste, 2004).Plato. Selected Dialogues of Plato: The Benjamin Jowett Translation. New York: Modern

Library, 2000.Popp, Ulrike. “Vom männlichen zum weiblichen Masochismus: Zur Geschlechtsum-

wandlung eines psychologischen Deutungskonzeptes.” Burgard and Rommel-spacher, Leideunlust, 137–53.

Works Cited 193

Reik, Theodor. Masochism in Modern Man. New York: Farrar, Straus and Co., 1941.———. Of Love and Lust: On the Psychoanalysis of Romantic and Sexual Emotions.

New York: Farrar, Straus and Co., 1957.Rich, B. Ruby. “New Queer Cinema.” Sight and Sound 2.5 (Sept. 1992): 30–39.Richardson, Colin. “Monika Treut: An Outlaw at Home.” In A Queer Romance:

Lesbians, Gay Men, and Popular Culture, edited by Paul Burston and ColinRichardson, 167–85. New York: Routledge, 1995.

Riedl, Joachim. Review of Seduction: The Cruel Woman. Die Zeit 24 Jan. 1986.Riviere, Joan. “Womanliness as a Masquerade.” In Formations of Fantasy, edited by

Victor Burgin, James Donald, and Cora Kaplan, 35–44. New York: Routledge,1986.

Robinson, Amy. “It Takes One to Know One: Passing and Communities of CommonInterest.” Critical Inquiry 20 (Summer 1994): 715–36.

Rommelspacher, Birgit. “Der weibliche Masochismus—ein Mythos?” in Leideunlust:Der Mythos vom weiblichen Masochismus, edited by Roswitha Burgard and BirgitRommelspacher, 11–40. Berlin: Orlanda Frauenverlag, 1989.

Ronk, Martha C. “Representations of Ophelia.” Criticism 36.1 (Winter 1994): 1–22,http: //lion. chadwyck. com.

Rooney, Monique. “Grave Endings: The Representation of Passing.” AustralianHumanities Review (Sept. 2001): 1–10.

Rosenfeld, Kathryn. “S/M Chic and the New Morality.” New Art Examiner (Dec./Jan. 2000/01): 27–31.

Rubin, Gayle. “The Traffic in Women: Notes Toward a Political Economy of Sex.” InToward an Anthropology of Women, edited by Rayna Reiter, 157–210. New York:Monthly Review Press, 1975.

Saalfield, Catherine. “The Seduction of Monika.” Outweek 12 Nov. 1989: 40–43.Sacher-Masoch, Leopold von. Afrikas Semiramis. 1901. Rastatt: Moewig, 1985.———. Die Liebe des Plato. 1870. Hamburg: Männerschwarm Skript Verlag, 2001.———. A Light for Others and Other Jewish Tales from Galicia. Riverside, CA: Ariadne

Press, 1994.———. Souvenirs: Autobiographische Prosa. 1887. Translated by Susanne Farin.

Munich: Belleville, 1985.———. Das Vermächtniss Kains. Novellen. Part 1: Die Liebe. 2 vols. Stuttgart: J. G.

Cotta, 1870.———. Venus im Pelz. 1870. Frankfurt a. M.: Insel Taschenbuch, 1980.———. “Venus in Furs.” 1870. Masochism, 143–271. New York: Zone, 1991.———. Ein weiblicher Sultan: Historischer Roman in drei Teilen. Berlin: Verlag von

Th. Knaur Nachf., 1873.Sacher-Masoch, Wanda von. The Confessions of Wanda von Sacher-Masoch. San

Francisco: Re/Search Publication, 1990.———. Masochismus und Masochisten. Nachtrag zur Lebensbeichte. Berlin: Hermann

Seemann Nachfolger, n. d.Sacher-Masoch, Hulda Edle von. “Memories of Sacher-Masoch.” (“Erinnerungen an

Sacher-Masoch.”) Leopold von Sacher-Masoch Souvenirs: Autobiographische Prosa.1887. Translated by Susanne Farin. Munich: Belleville, 1985: 5–13.

Sade, Marquis de. Juliette. 1797. New York: Grove, 1968.

194 Works Cited

———. Justine, Philosophy in the Bedroom, and Other Writings. 1787. New York:Grove, 1965.

SAMOIS, ed. Coming to Power: Writing and Graphics on Lesbian S/M. 1981. Boston:Alyson Publications, 1987.

Santner, Eric L. “Schreber’s Jewish Question.” My Own Private Germany: Daniel PaulSchreber’s Secret History of Modernity, 103–45. Princeton: Princeton UniversityPress, 1996.

Schlüpmann, Heide. “The Brothel as an Arcadian Space? Diary of a Lost Girl (1929).”In The Films of G. W. Pabst: An Extraterritorial Cinema, edited by Eric Rentschler,80–90. New Brunswick, NJ: Rutgers University Press, 1990.

Schwarzer, Alice, ed. Sexualität. Reinbek: Rowohlt, 1982.Sedgwick, Eve Kosofsky. Between Men: English Literature and Male Homosocial Desire.

New York: Columbia University Press, 1985.Shakespeare, William. Hamlet. Edited by Cyrus Hoy. New York: Norton, 1963.Shaviro, Steven. The Cinematic Body. Minneapolis: University of Minnesota Press,

1993.Shohat, Ella, and Robert Stam. “From the Imperial Family to the Transnational

Imaginary: Media Spectatorship in the Age of Globalization.” In Global/Local:Cultural Production and the Transnational Imaginary, edited by Robert Wilson andWimal Dissanayake, 145–70. Durham, NC: Duke University Press, 1996.

Showalter, Elaine. Sexual Anarchy: Gender and Culture at the Fin de Siècle. New York:Viking, 1990.

Sieg, Katrin. Ethnic Drag: Performing Race, Nation, Sexuality in West Germany. AnnArbor: University of Michigan Press, 2002.

Siegel, Carol. Male Masochism: Modern Revisions of the Story of Love. Bloomington:Indiana University Press, 1995.

Silverman, Kaja. The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema.Bloomington: Indiana UP, 1988.

———. Male Subjectivity at the Margins. New York: Routledge, 1992.———. “Masochism and Subjectivity.” Framework 12 (1980): 2–9.———. “Masochism and Male Subjectivity.” Camera Obscura 17 (May 1988):

31–66.Steffensen, Jyanni. “Epistemological Sadism: Queering the Phallus in Monica [sic]

Treut’s Seduction.” Atlantis 23.1 (1998): 137–45.Steiner, Deborah Tarn. Images in Mind: Statues in Archaic and Classical Greek

Literature and Thought. Princeton: Princeton University Press, 2001.Stewart, Suzanne R. Sublime Surrender: Male Masochism at the Fin-de-Siècle. Ithaca,

NY: Cornell University Press, 1998.Storim, Mirjam. “Literatur und Sittlichkeit. Die Unterhaltungsdebatte um 1900.” In

Das bewegte Buch: Buchwesen und soziale, nationale und kulturelle Bewegungen um1900, edited by Mark Lehmstedt and Andreas Herzog, 369–95. Wiesbaden:Harrassowitz Verlag, 1999.

Straayer, Chris. “Lesbian Narratives and Queer Characters in Monika Treut’s VirginMachine.” Journal of Film and Video 45.2/3 (1993): 24–39.

Studlar, Gaylyn. “Masochism and the Perverse Pleasures of the Cinema.” QuarterlyReview of Film Studies 9.4 (Fall 1984): 267–82.

Works Cited 195

———. In the Realm of Pleasure: Von Sternberg, Dietrich, and the Masochistic Aesthetic.New York: Columbia University Press, 1988.

Tinkcom, Matthew. Working Like a Homosexual: Camp, Capital, Cinema. Durham,NC: Duke University Press, 2002.

Treut, Monika. Die grausame Frau: Zum Frauenbild bei de Sade und Sacher-Masoch.Frankfurt a. M.: Stroemfeld/Roter Stern, 1984.

———. Interview by Barbara Mennel. December 1994.———. “Die Zeremonie der blutenden Rose: Vorüberlegungen zu einem

Filmprojekt.” Frauen und Film 36 (Feb. 1984): 35–43.Tsiavou, Evangelia. Die romantische Liebe als Medium der Sublimierung: Leopold von

Sacher-Masochs “Die geschiedene Frau.” Würzburg: Königshausen & Neumann,2006.

Tuska, Jon. Billy the Kid: His Life and Legend. Westport, CT: Greenwood Press, 1994.Tyler, Carole-Anne. Female Impersonation. New York: Routledge, 2003.Vance, Carole S., ed. Pleasure and Danger: Exploring Female Sexuality. London:

Pandora, 1989.Weibel, Peter, ed. Phantom der Lust: Visionen des Masochismus, Essays und Texte. Vol. I

and II. Munich: Belleville, 2003.Weigel, Sigrid. Die Stimme der Medusa: Schreibweisen in der Gegenwartsliteratur von

Frauen. Dülmen-Hiddingsel: tende, 1987.Weininger, Otto. Sex & Character. 1906. London: William Heinemann, 1975.Werner Presse, Wolfgang W. & PR, Press packet. My Father Is Coming. Berlin:

Wolfgang Werner Presse & PR, 1991.Widdig, Bernd. Männerbünde und Massen: Zur Krise männlicher Identität in der

Literatur der Moderne. Opladen: Westdeutscher Verlag, 1992.Wilke, Sabine. “The Sexual Woman and Her Struggle for Subjectivity: Cruel Women

in Sade, Sacher-Masoch, and Treut.” Women in German Yearbook 14 (1999):245–60.

Yenicioglu, Yigithan. “Gay Identities, Communities, and Places in the 1990s inIstanbul,” http://members.tripod.com/~warlight/YIGITHAN.html (accessedSeptember 2006).

Filmography

Arslan, Thomas. Brothers and Sisters (Geschwister-Kardesler) (1995).———. Dealer (1998).Ataman, Kutlug. Lola and Billy the Kid (Lola und Bilidikid) (1999).———. Karanlik Sular (1993).———. La Fuga (1988).———. Hansel and Gretel (1984).———. 1 + 1 = 1 (2002).———. 99Names (2002).———. It’s a Vicious Circle (2002).———. The 4 Seasons of Veronica Read (2002).

196 Works Cited

———. Never My Soul (2001).———. Martin Is Asleep (2001).———. Semih B Unplugged (1997).———. Women Who Wear Wigs (1999).Akın, Fatih. Short Sharp Shock (Kurz und schmerzlos) (1998).Antoniou, Angeliki. Nights, Gambled Away (Verspielte Nächte) (1997).Borden, Lizzie. Born in Flames (1983).Cavani, Liliana. Night Porter (1974).De Palma, Brian. Dressed to Kill (1980).Derin, Seyhan. I Am My Mother’s Daughter (Ich bin die Tocher meiner Mutter—Ben

Annemin Kiziyim) (1996).Dunye, Cheryl. The Watermelon Woman (1996).Enigholz, Heinz. Normalsatz (1983).Export, Valie. Invisible Adversaries (Der unsichtbare Gegner) (1977).———. Menschenfrauen (1980).Fitzmaurice, George. The Son of the Sheik (1926).Haynes, Todd. Swoon (1992).Hitchcock, Alfred. Psycho (1960).Lean, David. Lawrence of Arabia (1962).Link, Caroline. Nowhere in Africa (Nirgendwo in Afrika) (2003).Maccarone, Angelina and Fatima El-Tayeb. Everything Will Be Fine (Alles wird gut,

1997)McLaughlin, Sheila. Committed (1984)———. She Must Be Seeing Things (1987).Melford, George. The Sheik (1921).Mikesch, Elfi. Das Frühstück der Hyäne (1983).Norrington, Stephen. Blade (1998).Papsts, G. W. Diary of a Lost Girl (1929).Polat, Ayse. Tour Abroad (Auslandstournee) (2000).Ripploh, Frank. Taxi to the Toilet (Taxi zum Klo) (1981).Rose, Graham. Mrs. Meitlemeihr (2002).Rouch, Jean. Moi, Un Noir (1958).Siodmark, Robert. Looking for His Murderer (Der Mann, der seinen Mörder sucht),

(1931).Summereder, Angela. Zechmeister (1982).Treut, Monika. Berlinale 80 (co-directed 1980).———. Space Chase (co-directed 1980).———. I Really Need Communication (1981).———. Kotz-Bitchband (1981).———. The Woman from the Day after Tomorrow (co-dir 1981).———. Bondage (1983).———. Seduction: The Cruel Woman (1985).———. Virgin Machine (1987).———. My Father Is Coming (1991).

Works Cited 197

———. Female Misbehavior (1992).———. Taboo Parlor (1993).———. Erotique (1994).———. Didn’t Do It for Love (1997).———. Gendernauts (1999).———. Warrior of Light (2001).———. Made in Taiwan (2005).———. Tigerwomen Grow Wings (2005).Trier, Lars van. Breaking the Waves (1996).Troche, Rose. Go Fish (1994).Von Sternberg, Josef. The Blue Angel (Der blaue Engel), (1930).Wilder, Billy. Some Like It Hot (1959).———. Sunset Boulevard (1950).Wilhelm, Bettina. All of Me (1991).Yavus, Yüksel. April Children (Aprilkinder) (1998).

198 Works Cited

Abu Ghraib, 173Adelson, Leslie, 145–56, 184n9Adorno, Theodor, 88AIDS, 161Akın, Fatih, 143Alexander, Martha, 82androgyny, 112, 113, 135Antoniou, Angeliki, 143Appardurai, Arjun, 146–47Arendt, Hannah, 150Arscott, Caroline, and Katie Scott, 62–63Arslan, Thomas, 143artist and art, relationship of, 93–94Ataman, Kutlug, 4, 6–7, 8–9, 143–44audiences, reading, 179n13

Bachofen, Jakob, 89–90Berlin

as symbol of sexuality, 169urban landscape of, 146

Bersani, Leo, 4, 33, 149, 153, 160–62Betts, Paul, 6, 7Bildung

perverted, 50as value 11, 49, 110, 126

binariesconfiguration of masochism, 2–3East and West Berlin, 169heterosexuality/homosexuality, 140internal vs. external reality, 4literature/science, 16male/female, 113, 126, 133, 136–37nationhood/ethnicity, 5

pain/prosperity, 7sadism/masochism and theory/

literature, 5Binnie, Jon, 146Bourdieu, Pierre, 119Breger, Claudia, 132, 166–67, 171Bronfen, Elisabeth, 168, 169–70Brown, Wendy, 83–84Butler, Judith, 130–31, 132, 134,

140, 144

camp, gay, 9, 141and class, 149–52and minorities, 150and narrative, 145 149–52, 171–72as subversive, 149, 171–72

categories, instability of, 145Christian iconography, 113–14, 183n8cinema

Hollywood gay and lesbian, 148–49horror, 163–68minority, in Germany, 143as setting for desire, 142and space, 146the Western genre, 157See also film

city and homosexuality, the, 146Clark, Christopher, 152, 184n3, 184n5

on Lola and Billy the Kid, 144–45Clover, Carol J., 163–65colonialism, 45–47“coming out” stories, 140Cormican, Muriel, 179–80n2Creet, Julia, 81–82, 84

Index

cross-dressing, 9, 91–92, 135and masochistic aesthetics, 139as perversion, 107and platonic love, 105and pleasure, 139politics of, 125, 164as subversive, 133, 144and suspense, 113See also drag; masquerade

Davis, Katherine, 84daydreams, 142, 182n25de Lauretis, Teresa, 98–99, 100Dean, Mitchell, 41–42, 87deconstruction

of gender and sexuality, 132, 141,144, 145, 149

of identity, 87, 130of phallic masculinity, 159

Deleuze, Gilles, 4, 15, 37–42, 60, 61,153, 156–57

influence on masochisticaesthetics, 5–6

and Monika Treut, 89and psychoanalysis, 39–40on Sacher-Masoch, 38–40, 116

Dell, David, 146Derin, Seyhan, 143desire

cinematic staging of, 6–7as represented by masochistic

aesthetics, 143vs. power, 56

Doane, Mary Ann, 153–54, 156,157–158

Doisneau, Robert, 153–54domination

and feminist sexuality, 77in Lola and Billy the Kid, 142and masochistic aesthetics, 143and medicine, 8sexualized, 26–27, 161, 173societal, 65, 161, 173and subordination, 1–2, 6–9

drag, 110–11, 130–37, 144comedic use of, 171deconstructive effects of, 132, 149ethnic, 175n7

Dworkin, Andrea, 161

economics, 141of desire, 134of discrimination and oppression, 142and fetishism, 97–98

education. See BildungEghigian, Greg, 6, 7El-Tayeb, Fatima, 143Emberley, Julia V., 53, 62, 66, 93essentialism, 2, 9, 77–78

and lesbian S/M, 87–88notions of femininity, 136–37, 148notions of identity, 131–32vs. idealism, 107

ethnicity and nationhood, 5, 6, 40, 42,44, 72, 141, 144

performativity of, 148–49and power, 9stereotyped, 69, 145

fantasycentral to masochism, 18–21different notions of, 7embedded in history, 5forbidden, 173and gender, 24–27gendered, 8masochistic, 1and narrative frame, 8narrativization of, 20–21primal, 142and psychiatry, 20seduction, 8as setting for desire, 142

fashion, 1, 25, 81Fassbinder, Rainer Werner, 159femininity, 148–49

definition of, 110in Lola and Billy the Kid, 141

200 Index

male performance of, 145and masquerade, 133–34, 166nature of, 125and psychoanalysis, 169–70and race, 133sacrificial, 165as subversive, 162traditional, 152–53trappings of, 82and vulnerability, 85

feminismAmerican, 130anti-porn, vs. pro-S/M lesbians,

179n1German, 73, 77–78, 80, 81and lesbian S/M, 81–90modern, 81–82and queer studies, 8U.S., 73–74vs. lesbianism, 7, 8, 73, 182n26

feminist film theory, 153, 154–55, 163fundamental premises of, 177–78n8

feminist reading of Sade and Sacher-Masoch, 181n19

Fenner, Angelica, 143fetishism, 3–4, 53, 58, 61–62, 119,

141, 162–68according to Krafft-Ebing, 15in context of class and nation, 97–98female/lesbian, 181n22filmic economy of, 97–98and gender, 95and lesbian desire, 95–103and power, 46–47regarding race and class, 26–27, 28and subversion, 7–8and theories of lesbian desire, 100theorizations of, 182n23

fetishistic scopophilia, 154–56film, 6–7

casting, 140–41 180n6ethnographic, 167German, and masochistic

aesthetics, 41melodrama as genre, 184n3

film theoryand masochism, 152–62

Foucault, Michel, 160–61on history of sexuality, 20, 107,

176n12and lesbian S/M, 87on punishment, 6on sadomasochism, 27on sexuality and self-expression, 4on subjectivity, 3

Freud, Sigmund, 156–57on masochism, 23, 35–36the Oedipus complex, 101–102primal fantasies, 142seduction theory, 71See also psychoanalysis

Garber, Marjorie, 133, 177n4, 183n17gender, 72, 110, 113, 132, 133, 136

constructedness of, 133, 134cross-identification, 157detached from the body, 135difference in the nineteenth century,

117, 126and fantasy, 24–27performance of, 144and perversion, 23–27theorization of, 130transhistorical model of, 45–46See also identity

Germanistik, 5Germany

anti-Americanism in andAmericanization of, 180n10

as emblematic of Europe, 6–7and film, 4migrant cinema, 159queer cinema in, 140social reality of, 142theoretical approaches to gender, 136See also film; cinema

Gerstenberger, Katharina, 14, 69globalization, 143, 146, 153, 166–67,

180n10

Index 201

Goethe, Johann Wolfgang vonThe Sorrows of Young Werther, 109, 124

Göktürk, Deniz, 143, 145Gratzke, Michael, 108–10Grosz, Elizabeth, 99

Halberstam, Judith, 132, 136Halperin, David, 4Hart, Lynda, 81, 83, 87–88, 91,

100, 102Hegel’s master/slave dialectic, 64Hitchcock, Alfred, 154–55, 164,

178n8Holocaust, the, 6homophobia, 169–70homosexual utopia, 170–71homosexuality

and the city, 146and criminality, 120defined as male, 120Eastern vs. Western, 147–48and masquerade, 139term and concept, 176n6vs. heterosexuality, inverted, 130–31,

132, 136–37vs. same-sex encounters, 147–48

homosocial desire, 54, 57–58, 64, 136Horkheimer, Max, 88

idealismin The Love of Plato, 128–29vs. essentialism, 107

identityessentialist understanding of, 2gay, 166–67gender, 7–8, 116, 157gender, ambivalent, 139gender and queer desire, 10gender, understanding of, 105–6,

107homosexual, racial, and ethnic,

184n11performance of, 135sadomasochism, 85

sexual and gender, categories of, 130sexual, globalization of, 148

IGLHRC, 147ILGA, 147imagination, as everyday cultural

practice, 146Irigaray, Luce, 134Ivory, Yvonne, 119–20

Jews, 10, 113–14

Kinyanjui, Wanjiru, 143Knight, Julia, 76Krafft-Ebing, Richard von, 7

defines masochism, 2, 3, 23–25on female masochism, 29–36and fetishism, 95foreshadowing of 1960s, 4his life, 11–12, 13his writing, 13–14, 20, 175n2 (Ch. 1)and literature, 27–29on perversion, 32on prostitution, 142on Sacher-Masoch, 2–3, 108,

175n10and sexology, 8, 13–15, 17on sexuality, 15–18and the term and concept of homo-

sexuality, 176n6universalist model of masochism, 43

Kuzniar, Alice, 78, 94, 96, 140, 144, 152See also queer cinema

Lacan, 82, 134, 153on Sade, 41–42

Laplanche, Jean, and Jean-BertrandPontalis, 18–19, 98, 182n25

Lenzer, Gertrud, 95–96lesbian desire and fetishism, 100lesbian S/M, 81–90

dialectical nature of, 88and power, 85–87theorization of, 87–89

202 Index

lesbianismS/M and non-S/M, 99vs. feminism, 182n26

lesbianspro-S/M, vs. anti-porn feminists,

179n1liberalism, 4

cultural history of, 5–6, 38and masochism, 21–23and Nietzsche, 83and victimization, 83–84

liberation movements, 4, 5–7, 12,83, 130

Linden, Robin Ruth, 84–85literary genres.

autobiography, 20–21case histories, 21memoir, increased interest in, 14–15See also fantasy

literatureand fantasy, 11and gender, 11and masochism, 29mastered by science, 16–17and psychoanalysis, 40

Lola and Billy the Kidcasting of, 140–41and fetishism, 141integration of psychic and social

reality, 142, 143and The Love of Plato, 139–40and masochistic aesthetics, 140and place, 146–47reception of, 144–47and sexual identity, 148the title, 155

Maccarone, Angelina, 143MacKinnon, Catherine, 161Marcus, Marie, 78masculinity, crisis of, 17masochism

as aesthetic and psychic structure, 1and aestheticization, 50–59binary configuration of, 2–3

and bondage, 34–35and class, 25–27and cross-identification, 31cultural preoccupation with, 5defined, 11, 15–18and education, 49–50and fantasy undone, 57–59female, 29–36, 77“female” vs. “feminine,” 180n9and femininity, 156and feminist film theory, 153in film theory and queer studies,

152–62and gender, 19–20, 23–27as gendered, 2, 3, 32–33, 90–95and history, 43–44history of, 2–3, 9–10intellectual and cultural challenge of, 1invention of the term, 13–14, 175n3and liberalism, 21–23, 44–45, 52–53as literary perversion, 7and literature, 58and the love triangle, 53–55, 62–63at MLA 2000, 5moral of, 66and orientalism, 56–57original model of, 143parodoxes of, 1–2, 25–27, 28–29,

38–39, 57and patriarchal values, 66in performance art, 175n1 (Intro.)and psychoanalysis, 143and race, 26–27, 52–53representing queer desire, 4and sadism as symbiotic, 154secondary literature on, 3signifiers of, 1staging of, 1–2, 21–27, 45–46,

50–57, 90–94, 100–101as subversive, 38, 39, 42–43, 156subversive quality of, 143, 157and the visual arts, 47–48, 53–55,

62–63, 93–95and voyeurism, 55and women, 184n13

Index 203

masochistic aestheticsto articulate minoritarian

position, 106in context of postmodernity, 160cross-dressing and, 139defined, 37–38development of, 9–10and domination, 143established by Deleuze, 5and film theory, 149and gender, 38historical context of, 6history of, 95–96iconography of, 64–65liberating potential for, 10literary history of, 80and The Love of Plato, 127–30and medicine, 17and narrative, 8, 82, 106, 127–130,

172and perversion, 7political evaluation of, 60–61,

103–104politics of, 125, 136–37and pornography, 179–80n2and prostitution, 142and psychoanalysis, 40, 153race and ethnicity in, 40and Seduction: The Cruel Woman,

73–74structure of, 47subversive nature of, 4, 7–8theory of, 3–4, 37–38as transhistorical, 40–41to the uninitiated gaze, 86–87and victimization, 159, 168–72vs. reality, 157

masquerade, 3–4, 8–9and disavowal, 116and femininity, 133–34, 166and fetishism, 162–68function of, 111and gay camp, 141and homosexuality, 139

in Lola and Billy the Kid, 141in The Love of Plato, 139as subversive, 7–8, 9and suspense, 139and the visual arts, 113–14See also cross-dressing; drag

Massad, Joseph, 147matriarchal history, 89McClintock, Anne, 15, 16, 18, 26–27,

45–47, 55, 70–71, 177n5McLaughlin, Sheila, 180n5medicine, structured by

domination/submission, 8migrants

and cinema, 159in film, 167represented in German cinema, 143stereotypes, 152

Mikesch, Elfi, 180–81n11See also Seduction: The Cruel Woman

minorities and camp, 150minority cinema. See cinemaminority literature

written in Germany, 145–46misogyny, 108–10, 125, 128–29, 137MLA 2000, 5Mulvey, Laura, 153, 154–54, 156,

177–78n8, 184n11

narrativeand camp, 149–52vs. camp, 141

narrative frame, 37–38, 59–72, 91–92,127–30

Noyes, John K., 20, 27, 33, 42–45, 60,69, 107

on collapsing Sacher-Masoch’sbiography and works, 182n3

“invention of masochism,” 175n3(Ch. 1)

on Venus in Furs, 178n10vs. Deleuze, 45

204 Index

Okpako, Branwen, 143Oosterhuis, Harry, 4, 18, 20–21,

21–23, 33on Krafft-Ebing, 175n4 (Ch. 1),

175n5 (Ch. 1)on the term and concept of

homosexuality, 176n6Ophelia, 142, 168–72orientalism, 147–49, 178n9

Pabst, G. W., 184n12paintings. See visual artspassing. See cross-dressing; drag

masqueradepassing novels, 115–19patriarchy, 84, 86, 89

Turkish, 152, 170–71performativity, 2, 144

of gender, 9, 79, 134of masculine idealism, 132postmodern practices of, 110of queer desire, 9, 148of sexual desire and gender

identity, 137perversion, 4, 13–14, 38–39

according to Krafft-Ebing, 15and aesthetic values, 17definition of, 2–3, 107and gender, 23–27historically, 74literary, 27–29and masochistic aesthetics, 7and psychiatry, 21

Pietz, William, 53Plato

role of women in his political theory,183n16

platonic desire, 8–9, 57, 109platonic love, 119–27

defined, 122–23and female seduction, 114as misogynistic, 126vs. sensual love, 123–24

pleasure, desexualized, 87–88

Polat, Ayse, 143politics

of cross-dressing, 164of domination and submission,

1–2, 142and homophobia, 169–70sexual, 109–10

Pontalis, Jean-Bertrand. See Laplanchepornography, 76, 81, 161, 173,

179–80n2and renunciation, 114vs. lesbian S/M, 85–86

powerand gender, 1, 2, 24–27, 106, 109,

161–62in lesbian S/M, 85–86and pleasure, 10, 86sexualization of, 3staged inversions of, 9

prostitutionand the cruel woman, 90and fantasy, 18, 19–20and masochistic aesthetics, 142

psychiatryas gendered, 11and perversion, 21and sexology, 13–14

psychoanalysis, 3and aesthetics, 8as a discipline, 15and fantasy, 7, 18–19and feminine desire, 96in film theory and Queer Studies,

152–62and history, 45–57and masochism, 143

queercamp, 75politics, 80utopia/dystopia, 145

queer cinemahistory of, 75as transnational, 73, 78–79

Index 205

queer desire, 7–8and gender identity, 10and masochism, 4

Queer Studies, 82, 132–33, 134,136–37

and desexualized male homosexuality,105

and feminist theory, 8and masochism, 152–62

queer theory, 4, 110–11, 139intersection with feminist theory, 105

race and ethnicity, 46and sexuality, 161

realityinternal vs. external, 4psychic, 4, 19social, 2, 22, 28, 142, 157–58

Reik, Theodor, 166religion, secularization of, 136

See also Christian iconographyrestrooms, 148, 150, 170, 184n6rhetoric

anti-anti-pornography, 179n2liberation, 135of victimization, 81–85, 102

Riviere, Joan, 166Robinson, Amy, 115–16, 134–36Robinson Crusoe, 31role-play. See cross-dressing; masqueradeRonk, Martha, 169, 170Rouch, Jean, 167

Sacher-Masoch, Leopold von, 5, 17,43–45, 107–10

Ein weiblicher Sultan, 182n6feminist reading of, 181n19and fetishism, 95and film, 7, 8and Germanistik, 5his life, 11–12, 68–72his oeuvre, 6, 12, 20, 67–68, 105–06literary aesthetics of, 2–4, 5The Love of Plato, 4, 8–9, 139, 166

and mise-en-scène, 116–117and misogyny, 108–09narrative conventions, 112, 121as novelist, 15Venus in Furs, 1, 4, 8, 20, 47–67,

90–95, 175n2as victim of his own perversion, 3,

176n10Sade, the Marquis de, 5, 15–16, 41

and the cruel woman, 88–90feminist reading of, 181n19

sadismand gender, 23–24paradox of, 41–42vs. masochism, 17, 41–42

sadomasochism, 1, 5, 8, 27, 73debate on, 83and lesbianism, 76

“Salon Oriental,” 144SAMOIS, 83Sedgwick, Eve Kosofsky, 49, 54, 57–58,

136Seduction: The Cruel Woman, 80

casting, 74, 91–92and fetishism, 95–103and Freud, 100and masochistic aesthetics, 73–74narrative structure of, 91–92political evaluation of, 102–103reception of in Germany, 75–78reception of in the U.S., 78–80as rescription of Venus in Furs, 90–95Treut, Monika, 4, 6–7, 8

sex wars, 88shifting power dynamic in, 112

sexology, 8, 13–15, 120and aesthetics, 17and literature, 105–06See also Krafft-Ebing

sexual deviance. See perversionsexual organs, 118sexuality

nineteenth-century definitions of, 82

206 Index

and power, 81–82See also gender; identity

Shaviro, Steven, 4, 33, 153, 159–60postmodern film, 163

Showalter, Elaine, 110Sieg, Katrin, 111, 131–32, 175n7Silverman, Kaja, 4, 33, 61–62, 153,

156, 158–59spectatorship, 4, 153–56, 184n11See also voyeurism

Sorrows of Young Wether, The. SeeGoethe, Johann Wolfgang von

stagingof power, 9–10of subordination, 21–22See also masochism

Sternberg, Josef von, 154–56Stewart, Suzanne R., 17, 54

on Venus in Furs, 178n10Studlar, Gaylyn, 4, 153, 156–57, 166

on Venus in Furs, 178n10subjectivity

female, 139history of, 3and institutional power, 20See also identity

sublimationfemale, 103through education, 107Freud’s gendered theory of, 94male, 95, 126, 130

subversion, 9of sexual and gender roles, 79,

90–95, 135, 140subversiveness of masochism, 143suspense, 139

and cross-dressing, 113, 115–17in The Love of Plato, 115–16in masochism, 1, 38–40, 68and masochistic aesthetics, 127

Third Sex, 133Tinkcom, Matthew, 150Transe, 144

transvestitism. See cross-dressing; mas-querade

Treut, Monikaas academic, 88–90and Elfi Mikesch, 76, 93–95and fetishism, 96as filmmaker, 79–80in Hollywood, 181nn13–14pornography in her films, 179–80n2See also Seduction: The Cruel Woman

Turkeypatriarchal culture, 184n9and sexual identity, 147–48

Turkish-German gay identity, 144,147–49

Turks in Germany, 145–46See also migrants

Venus in European culture, 62–63, 95Venus in Furs. See Sacher-Masochvictimhood, 2, 6

and masochistic aesthetics, 159,168–72

vs. mastery, 173victimization

and liberalism, 83–84rhetorics of, 81–90

violenceagainst women, 77, 81, 84, 101homophobic, 169–70and masculinity, 165–66and pleasure, 31public, 21–23and sexuality, 173See also domination; pornography;

victimizationvisual arts

and film, 163–64and homosexuality, 168–72and masochistic aesthetics, 142

voyeurism, 90–91, 114and masochism, 55and sadism, 155See also fetishistic scopophilia

Index 207

Weininger, Otto, 118, 125

on graphology, 182n7

Widdig, Bernd, 135–36

Wilder, Billy, 171, 184n8

Wilke, Sabine, 88

women as dead aestheticized objects,

168–72

Wood, Robin, 164–65

Yavuz, Yüksel, 143

208 Index