social and cultural context. Displaying cleavage or any part of female breast may be considered inappropriate or even prohibited by dress codes in some settings, such as workplaces, churches, and schools, while in some spaces showing as much cleavage as possible can be permissible or even encouraged. The exposure of nipples or areolae is almost always considered toplessness, considered by some to be immodest and in some instances as lewd or indecent behavior. Art historian James Laver argued that the changing standards of revealing cleavage is more prominent in evening wear than in day wear in the Western world. Film producers such as Russ Meyer produced films which featured actresses with large breasts. Lorna (1964) was the first of his films where the lead actress, Lorna Maitland, was selected on the basis of breast size. Other large-breasted actresses used by Meyer include Kitten Natividad, Erica Gavin, Tura Satana, and Uschi Digard. Most were naturally large-breasted; Meyer occasionally cast women in their first trimesters of pregnancy to enhance their breast size even further. Author and director William Rotsler said, "With Lorna Meyer established the formula that made him rich and famous, the formula of people filmed at top hate, top lust, top heavy." With regard to pornography, according to statistics from the websites Pornhub and YouPorn, preference for either breasts or the buttocks varies between countries and, on average, between world regions; the United States and most of Latin America and Africa is in the buttocks group, and most of Europe and much of Asia is in the breasts group. Alternative opinions The term breast fetishism is also used within ethnographic and feminist contexts to describe a society with a culture devoted to breasts, usually as sexual objects. Some feminists have argued that incidents of breast fetishism have been found going back to the neolithic era, with the goddess shrines of Çatalhöyük (in modern Turkey). The archaeological excavations of the town in revealed the walls of the shrine(s) adorned with disembodied pairs of breasts that appeared to have "an existence of their own". Elizabeth Gould Davis argues that breasts (along with phalluses) were revered by the women of Çatalhöyük as instruments of motherhood, but it was after what she describes as a patriarchal revolution – when men had appropriated both phallus worship and "the breast fetish" for themselves – that these organs "acquired the erotic significance with which they are now