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Simply irresistible – that is how many film buffs around the world would describe this blonde bombshell whom with her impish charm, set many men’s hearts on fire and stole claps of thunder from her contemporaries. “Photographs have been produced under such circumstances that they were physically forced to correspond point by point to nature” (Berger 1984). In contrast, images of Marilyn Monroe have been plastered all over the world with little or no variation. She was a product manufactured by the press and movie industry who went overboard after her tragic death in 1962. Mercenaries have either torn her to shreds, or catapulted her to dizzying heights, all with a view to the acquisition of gain. What remains to day is a lucrative growing industry trading on her memory or the myth that was supposedly Monroe – an iconic sign of the 20th century. In semiotics, a sign is ‘the marriage between the signifier and the signified’ (Smith 1964) and the image of Monroe, is a quintessential example of this relationship. She was the representation of the female body in classic Hollywood cinema. The sexual pose in this image, her extreme whiteness and make-up, and her peroxide blond hair bear witness to a new born fetish f