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The article discusses the relations of cinema and technology to sexuality. It says that behind most discourses of technology is a sexed figuration of the body, with a sexual division of labor and intelligence, wherein men are usually the operators of the technology while women are its domestic servants. In cinema, the on-screen female body is produced as a representation for male consumption by the narrative and through the eyes of the male protagonist, the male spectator. Furthermore, the author also adds that cinema's technologies display a clear division of labor.

The article explores images of language and indiscreet dialogue in the 1985 film "The Man Who Envied Women," directed by Yvonne Rainer. It considers Michel Foucault's notion of the gaze in narrative and Jacques Lacan's notion of the male subject's overweening desire. As contended by the author, the film engages in different types of seduction, including the seduction of male theorists by female scholars. Its discourse on art, politics, daily life, and jokes makes the film a representative of feminist cinema and, thus, postmodernism.

The article presents an analysis of the television program " I Love Lucy" starring Lucille Ball, at the CBS, from October 15, 1951 until May 6, 1957. Considered as a CBS economics ratings success with reruns for thirty years, the program was produced by Desi Arnaz. The author dispels the myth and the interpretation of the origin of "I Love Lucy." Several narratives of the TV program are described to highlight how fiction becomes fact or the real situation with simulation. A discussion on other businesses the show spawned is offered.