Absolutely Fabulous (1992–6), 68
Adam, Alison, 129–30
irony, and, 43–5
reflexive, 43–5, 48
unreflexive, 43—4
advertising and women's magazines, 38—47
advertising images, 15, 26, 38—47, 84
and power, 19, 125–6
female, 55–6, 76, 78–81,145
AI (artificial intelligence), 132–5
AL (artificial life), 132–3
Alien Resurrection (1997), 139
Ally McBeal, 16
Ang, Ien, 11, 62^l·, 76, 147 Watching Dallas, 11, 62
ANT (actor network theory), 124— 6, 133, 136
Apprentice, the, 110
construction of sexual difference, 27–9
images of women in, 27—33
male viewer, and the, 30
photography, and, 33—47
women, taking photos, 33–8
Arthurs, Jane, 78
audience and text, tensions, 145–51
authorship and women, 78–81
bachelor machines, 119
Balsamo, Anne, 115, 141
Barthes, Roland, 48
Baudelaire, Charles, 28–9
Baudrillard, Jean, 13, 47–8, 120–1, 129
Baudry, Jean-Louis, 117
beauty as constructed, 43—4
Benjamin, Walter, 28, 34, 38, 41
Berger, John, 39, 41, 53
Birmingham Women Studies Group, 3, 5
Bobo, Jacqueline, 147
containing, 107—11
culture, and, 101–2
public and private, 99–103
women's, 31, 141–3
bodily excess, 104–11
lived body, the, 141–3
out of control, 103–11
politics, 102–3, 115
transformation of, 141–3
woman's, the, 35, 115
Bordo, Susan, 14–16, 52–3, 102, 140
action/emotion, 15–16
blurring, 103–8
human/machine, 130, 135—43
medical/pornographic, 36
mind/body, 140
public/private, 15–17, 103–8
work/home, 15–16


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