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ame that they give to enabling a media audience "to know what they will find inside the total message presentation" (22).

That idea forms a part of the critique of pornography, although it can be argued that with pornography one is frequently in a position to preview the contents--if only because of a known quantity like a magazine title (Hustler) or a movie lasting eight instead of 120 minutes titled Swingin' in the Rain--and can choose to take or leave the sheets between the covers. W

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