wrath of the Jennifer Reeses of the world—that is the starting point for such re- search and the end point of this essay. Notes I would like to thank Susan Hunt, Elle Yarborough, and Chuck Kleinhans for their gener- ous help with this essay. 1, Peter Lehman, '"A Dirty Little Secret': Why Teach and Study Pom," in Pornography: Film and Culture, ed. Peter Lehman (New Brunswick: Rutgers University Press, 2006). 2, Peter Lehman, Running Scared: Masculinity and the Representation of the Male Body (Philadelphia: Temple University Press, 1993), 3, Peter Lehman and Susan Hunt, "Beauty, Brains, and Brawn: How Hollywood Ruins Your Sex Life" (New Brunswick: Rutgers University Press, forthcoming), 4, Laura Mulvey, "Visual Pleasure and Narrative Cinema," Screen 16, no. 3 (1975): 6-18. 5, Jennifer Reese, review of Killing Johnny Fry by Walter Mosley, "Pulp Fiction," www,ew.com (2006), 6, Peter Lehman, "A 'Strange Quirk in His Lineage': Walter Mosley, Donald Goines, and the Racial Representation of the Penis," Men and Masculinities 9 (2006): 226-35. Racism and Pornography: Evidence, Paradigms, and Publishing by Daniel Bemardi In this essay I want to address the experiences of having published two articles on race and pornography. In one, "Cyborgs in Cyberspace: White Pride, Pedophilic Pornography, and Donna Haraway's Manifesto," I was permitted to include im- ages to illustrate critical points,^ In another, "Interracial Joysticks: Pornography's Web of Racist Attractions," I was restricted from doing so.^ Appearing four years apart (2002 and 2006), both essays appear in collections published by Rutgers Uni- versity Press. The decision to exclude images from the second essay was based on several complex issues, yet it hindered the article's argument and undermined the ability of readers to challenge and build upon its interpretations. The result of this decision also raises questions about how best to reveal and challenge ideologies circulating on the Web. Focusing on hate speech and pornography online, "Cyborgs in Cyberspace" appears in James Friedman's 2002 collection. Reality Squared: Television Discourse and the Real (New Brunswick: Rutgers University Press), "Cyborgs in Cyberspace" critiques poststructural arguments that at the time began shifting from the metaphor of the cyborg to the sociopolitical realities of the Intemet, In it I argue that the "stuff of Hollywood films and television, not to mention the more disturbing texts of the pornography industry, are claiming cyberspace as their own and bringing Cinema Journal 46, No. 4, Summer 2007