N
o t e s
introduction
1 Moore, Silent Star, 10, 11.
2 Mulvey, Fetishism and Curiosity, 54. See also Tom Gunning’s work
early cinema and display, especially, of course, ‘‘The Cinema of Attractio
3 Moore, Silent Star, 11.
4 On page 292 of Fred Lawrence Guiles’s Marion Davies: A Biogra
(New York: McGraw-Hill, 1972).
5 As Rosa-Linda Fregoso shows in her study of film star Lupe Ve
‘‘fantasy heritage’’ is a particularly appropriate concept through which
understand the history of cinema (meXicana Encounters, 103). I return to
concept in chapter 2.
6 Benjamin, Reflections, 53, 60.
7 Bachelard, The Poetics of Space, 8.
8 See ibid., 39.
9 This, too, is a paraphrase. He writes, ‘‘A house that is as dynami
this allows the poet to inhabit the universe. Or, to put it differently, the u
verse comes to inhabit his house’’ (ibid., 51).
10 The documentary film is clearly not the same as a biopic, but the
tional footage included in the documentary film often takes on the same r
as the biopic. See George Custen, Bio/Pics.
11 My understanding of the structure of memory in relation to fict
and nonfiction film, as well as to written texts, is informed by a range
works, especially those by Münsterberg and Deren, as well as Henri Be
son, Sigmund Freud, and Walter Benjamin, and more recent film and me
scholars such as Ann Cvetkovich, bell hooks, Anne Friedberg, Annette Ku
José Munoz, and Maureen Turim.
12 Deren, An Anagram of Ideas on Art, Form and Film, 42.
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