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of women’s tennis, but of itself and of its fellow commercial sports media who
had created the image-based Kournikova phenomenon in the first place.
Despite such postmodern japes involving the manipulation of self-
consciously sexy sports imagery, the predominant form of sports photograph
remains, paradoxically, the body-focused action shot. Here the subject is in
motion but the medium is capable only of stopping the action and freezing the
instant. What happens, then, when the static sports image becomes animated?
Our attention now turns to the moment when the wall poster comes to life and
the still media sports text starts to move.

Further reading

Birrell, S. and McDonald, M.G. (eds) (2000) Reading Sport: Critical Essays on Power
and Representation. Boston, MA: Northeastern University Press.
Guttmann, A. (1996) The Erotic in Sports. New York: Columbia University Press.
Hargreaves, Jennifer (1994) Sporting Females: Critical Issues in the History and
Sociology of Women’s Sports. London: Routledge.
Miller, T. (2001) Sportsex. Philadelphia, PA: Temple University Press.