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Sex, Comedy and Controversy: Kiss Me, Stupid,
What’s New, Pussycat?, New Hollywood, and
Metropolitan Taste
By Ken Feil
The institutions of commercial Hollywood, art cinema, and the avant-garde might differ in terms of taste cultures and publics, but in
the 1960s they all produced films that comically flaunted vulgar, sexual subject matter, pop culture parody, and more generally, a
“metropolitan” sensibility. This cocktail proved lethal to the guardians of traditional culture, who vehemently repudiated certain films
for challenging the hegemony of “middlebrow” and “petty bourgeois” taste. The taste tests of the 1960s resulted in the popularizing of
a metropolitan, “new” sensibility, a “good taste of bad taste” variously defined and labeled as “Pop,” “mod,” “camp,” “cult,” the “far-
1
out,” the “put-on” (among many others) . The “new sensibility” reverberated among mainstream audiences and throughout the
commercial mass media, coinciding with and perhaps expediting the demise of the Production Code Administration (PCA) and
installation of the Classification and Ratings Administration (CARA), the loosening of televisual standards and practices, as well as the
emergence of the New Hollywood art film.
Little attention has been paid to the recurrent impact of sex comedies in this transformative process.2 Kiss Me, Stupid (1964) and
What’s New, Pussycat? (1965) remain two such forgotten catalysts of “New Hollywood” cinema in terms of testing the boundaries of
“vulgar” sexual content permitted by the Code and film audiences, incorporating art film and avant-garde subjects and styles, as well
as flagrantly blurring the lines between high and low taste. With its classical Hollywood style, “foreign movie” content, and noisily
controversial reception, Kiss Me, Stupid underscored the hoary criteria for Hollywood’s Code and middlebrow culture’s definition of
tastefulness, but audience apathy provided a triumph for
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