Shadows of Doubt: Negotiations of Masculinity in American Genre Films

Notes

|   Notes Introduction 1. Robin Wood, Hitchcock’s Films Revisited (New York: Columbia University Press, 1989), 221. 2. Robin Wood, “Ideology, Genre, Auteur,” in Film Genre Reader 3, ed. Barry Keith Grant (Austin: University of Texas Press, 2003), 70. 3. Wood, Hitchcock’s Films Revisited, 221. 4. Susan Sontag, On Photography (New York: Delta, 1973), 15. 5. Rick Altman, Film/Genre (London: British Film Institute, 1999), 189–90. 6. Mark Twain, Life on the Mississippi (New York: New American Library, 1961), 265–66. He adds that Scott’s retrograde vision, or what he called “the Sir Walter Scott disease,” hampered social progress “and out of charity ought to be buried” (266). Appropriately, Twain names the steamship that runs aground in Adventures of Huckleberry Finn—the one book from which “all modern American literature comes,” according to Ernest Hemingway—the Sir Walter Scott. See Adventures of   | NOTES TO INTRODUCTION Huckleberry Finn, ed. Sculley Bradley, Richmond Croom Beatty, and E. Hudson Long (New York: Norton, 1961), 62. Ernest Hemingway, Green Hills of Africa (New York: Charles Scribner’s Sons, 1935), 22. 7. Judith Hess Wright, “Genre Films and the Status Quo,” in Film Genre Reader 3, ed. Grant, 50. 8. John Fiske, Reading the Popular (Boston: Unwin Hyman, 1898), 2. 9. David Bordwell, Janet Staiger, and Kristen Thompson, The Classical Hollywood Cinema: Film Style and Mode of Production to 1960 (New York: Columbia University Press, 1985), 3, 7. 10. I discuss the generic conventions of these films and others in my Film Genre: From Iconography to Ideology (London: Wallflower Press, 2007). 11. Wood, “Ideology, Genre, Auteur,” 70, 73. 12. Annalee Newitz, “Serial Killers, True Crime, and Economic Performance Anxiety,” in Mythologies of Violence in Postmodern Media, ed. Christopher Sharrett (Detroit: Wayne State University Press, 1999), 69, 76. 13. Ibid., 69. 14. These are the terms Robin Wood has so influentially used to discuss the ideology of the horror film. See his essay, “An Introduction to the American Horror Film,” in Planks of Reason: Essays on the Horror Film, ed. Barry Keith Grant and Christopher Sharrett, rev. ed. (Lanham, MD: Scarecrow Press, 2004), 107–41. 15. Steve Neale, “Masculinity as Spectacle,” in Screening the Male: Exploring Masculinities in Hollywood Cinema, ed. Steven Cohan and Ina Rae Hark (London and New York: Routledge, 1993), 9–20. Neale’s essay was first published in Screen 24, no. 6 (1983): 2–16. 16. Peter Lehman, Running Scared: Masculinity and the Representation of the Male Body, new ed. (Detroit: Wayne State University Press, 2007), esp. chap. 1. 17. Judith Butler, Gender Trouble (New York and London: Routledge, 1990); Gaylyn Studlar, This Mad Masquerade: Stardom and Masculinity in the Jazz Age (New York: Columbia University Press, 1966). 18. Frank Krutnik, In a Lonely Street: Film Noir, Genre, Masculinity (London and New York: Routledge, 1991), xiii, 91. 19. Neale, “Masculinity as Spectacle,” 11. 20. “The sexual confusion at the heart of Raging Bull does, I think, put masculinity in crisis, raising the question of what it takes to be a man, and what the alternatives to macho male sexuality might be.” Pam Cook, “Masculinity in Crisis?” Screen 23, nos. 3–4 (1982): 39. NOTES TO CHAPTER |   21. R. W. Connell, Masculinities (Berkeley: University of California Press, 1995), 76–77. 22. Ibid., 77. 23. Joan Mellen, Big Bad Wolves: Masculinity in the American Film (New York: Pantheon, 1977), 3. 24. Wood, “Ideology, Genre, Auteur,” 64, 63. Chapter  1. James Agee, “David Wark Griffith,” in Agee on Film, vol. 1 (Boston: Beacon Press, 1964), 316–17. 2. Ibid., 314. 3. Andrew Sarris, The John Ford Movie Mystery (London: Secker and Warburg; British Film Institute, 1976), 85. For a detailed discussion of Ford as a visual poet, see my “John Ford and Fenimore Cooper: Two Rode Together,” in John Ford Made Westerns: Filming the Legend in the Sound Era, ed. Gaylyn Studlar and Matthew Bernstein (Bloomington: Indiana University Press, 2001), 193–219. 4. Agee, “Griffith,” 317. 5. Neale, “Masculinity as Spectacle.” 6. Scott Simmon, “‘The Female of the Species’: D. W. Griffith, Father of the Woman’s Film,” Film Quarterly 46, no. 2 (1992–93): 9. 7. Lewis Jacobs, The Rise of the American Film: A Critical History (New York: Teachers College Press, 1968), 96–97. 8. Lillian Gish, The Movies, Mr. Griffith, and Me (Englewood Cliffs, NJ: Prentice-Hall, 1969), 102. 9. Richard Dyer, “A White Star,” Sight and Sound 3, no. 8 (1993...