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are dangerous only when the audience, left unaware of the game
being played, is not invited to join in the laughter at the visual
puns. As contemporary admen, as well as artists from the Per-
sians through Picasso, have demonstrated, "guilty pleasures"
can infiltrate the most innocuous settings and wear the most
innocent guises.


NOTES
1. Wilson Bryan Key, Subliminal Seduction (Englewood Cliffs, N.J.:
Prentice-Hall, 1973), p. 110.
2. Wilson Bryan Key, The Clam-Plate Orgy and Other Subliminal Tech-
niques for Manipulating Your Behavior (Englewood Cliffs, N.J.: Prentice-
Hall, 1980), p. 28.
3. Stuart Cary Welch, Persian Painting: Five Royal Safavid Manuscripts
of the Sixteenth Century ( New York: George Braziller, 1976), p. 22.
4. Stuart Cary Welch, Imperial Mughal Painting ( New York: George
Braziller, 1978), p. 43.
5. Key, The Clam-Plate Orgy, pp. 57-60.
6. Wilson Bryan Key, Media Sexploitation (Englewood Cliffs, N.J.:
Prentice-Hall, 1976), p. 10.
7. Frank Kelly Freas, The Art of Science Fiction ( Norfolk, Va.: The
Donning Company, 1977), p. 98.
8. Jeffrey Jones, Michael Kaluta, Barry Windsor-Smith, Berni Wrightson
, The Studio ( Holland: Dragon's Dream, Ltd., 1979), p. 11.
9. Ibid., p. 74.

-110-

Questia, a part of Gale, Cengage Learning. www.questia.com

Publication Information: Book Title: Eros in the Mind's Eye: Sexuality and the Fantastic in Art and Film. Contributors: Donald Palumbo - editor. Publisher: Greenwood Press. Place of Publication: New York. Publication Year: 1986. Page Number: 110.
    
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