and tails moving her long cigarette holder, taking one dancing girl by the sleeve and pinching her on the cheek in a parody of phallic power (Kaplan126)3 and with fur-trimmed coat and stiletto heels in the conventional codes of female roles (Turner 81)4 work together for her cross-gender representation. And we never see Marlene shake her hips during the show time like what the other dancing girls do in film. When we see her performs on stage, she appears in gorilla suit singing ¡§Hot Voodoo¡ or in male¡s suit. As Tynan(Pam 81)5 puts it, ¡§Her masculinity appeals to women and her sexuality (not femininity) to men.¡ Through ac
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