with‹femininity› in all its manifestations, and it strikes a balance between (patriarchal) ascription and feminist self-articulation. My title was inspired by the German version of Shakespeare's «The Taming of the Shrew,» in which I played the lead 20 years ago; like so many other feminists, I have not been able to ever forget the other, suppressed message of the play. [4] Another reference is Donna Haraway's cyborg figure/figuration which I always pictured as an ageless naughty girl. Her «Cyborg Manifesto» [5] , which she considered to be an «ironic myth» as she propagated the cyborg figure and trope as a feminist fantasy of transgression, is one of the most important junctures in (post-)feminist theory. Committed to a policy of selfempowerment and articulation, these theories again and again called for the figuration of female subjects beyond simple policies of identity. Haraway as well as Rosi Braidotti and others [6] have pleaded in favor of enjoying the blurring of boundaries and the state of hybridity, to take the new conditions and their «informatics of domination» (Haraway) as an opportunity to shape subjects and identities in a new way, to form alliances—which is what the protagonist of «The Office

Killer» does in an exemplary fashion. To my mind, the important point in these ideas is that the elements of pleasure and enjoyment come to the fore very clearly—in a process that could have a lot to do with loss, dissolution and a wellfounded fear of new forms of oppression. I think that this productive reinterpretation of conditions that are bad on one level but are turned into a chance on a different level is a decisive aspect in (post-) feminist approaches which also conforms with my idea of unruliness.

«The Office Killer,» Cindy Sherman's first feature film—the flagship of a feminist reading of art, as it were—also shows something else: female contemporary (video) artists can be in sync with the mainstream. The movie addresses a mass audience, and, judging by the simple structure of the plot, the female figure to identify with and the idea of‹female power,› it could well be a Hollywood production. Unruly women are popular—just think of the successful movie «Thelma and Louise,» to which «The Office Killer» bears a certain likeness while it is much more critical of capitalism and more feminist. The latter is particularly true because the revolting protagonist does not drive