The Critic as Consumer: Film Study in the University, Vertigo , and the Film Canon
1. Pierre Bourdieu, Outline of a Theory of Practice , trans. Richard Nere (New York: Cambridge University Press), p. 197. [BACK]
2. For the 1982 list, see Sight and Sound 51, no. 4 (Autumn 1982): 243. In a 1978 survey of critics conducted by the Belgian Film Archives regarding important American films, Vertigo was ranked only eighteenth. See The Most Important and Misappreciated American Films Since the Beginning of Cinema (Brussels: Royal Film Archives of Belgium, 1978). This jump in popularity preceded Vertigo 's re-release in 1983. [BACK]
3. Janet Staiger, "The Politics of Film Canons," Cinema Journal 24, no. 2 (Spring 1985): 4. [BACK]
4. Antonio Gramsci, Selections from the Prison Notebooks , ed. and trans. Quintin Hoare and Geoffrey Nowell-Smith (New York: International Publishers, 1971), p. 11. [BACK]
5. Donald Spoto, The Dark Side of Genius: The Life of Alfred Hitchcock (New York: Ballantine, 1983). The making of Vertigo is discussed on pp. 425-35. [BACK]
6. See Bob Thomas, King Cohn: The Life and Times of Harry Cohn (New York: G. P. Putnam's Sons, 1967), pp. 325-31. [BACK]
7. Christine Gledhill, "Developments in Feminist Film Criticism," Re-Vision: Essays in Feminist Film Criticism , ed. Mary Ann Doane, Patricia Mellencamp, and Linda Williams (Frederick, MD: University Publications of America, 1984), pp. 18-48. [BACK]
8. François Truffaut, Hitchcock (New York: Simon and Schuster, 1984), p. 227. [BACK]
9. Michael Rogin, " Kiss Me Deadly: Communism, Motherhood, and Cold War Movies," Representations , no. 6 (Spring 1984): 1-36. [BACK]