Camera And Action, page 43
40. Jane Allerton, "Help Bring Back the Seducer," Cosmopolitan 169.3 (July 1970): 26.
41. Teresa de Lauretis has written that "the construction of gender is ... affected by its deconstruction." De Lauretis, Technologies of Gender, 3.
42. Mulvey argued that women's bodies in film "organized the discourses of law and medicine into the realm of representation. Women's struggle to gain rights over their bodies could not be divorced from questions of image and representation." Mulvey, Visual and Other Pleasure, is, xi.
43. David L. Minkow, "Fighting It," Letter to the Editor, The New York Times, 5 Dec. 1971.
44. Linklater, "Demeaning."
45. Lakoff, Language and Woman Place, 42.
46. Joann Wallace,' Where the Body Is a Battleground: Materializing Gender in the Humanities," Resources for Feminist Research, 22 Sep. 2001.
47. Linklater, "Demeaning."
48. Mulvey, Visual and Other Pleasures, xi.
49. Laura Mulvey writes, "Analysis of the representation of femininity in popular culture had to become an analysis of collective fantasy under patriarchal culture ... watched through the eyes that were affected by the changing climate of consciousness." It was especially important to note that "the belief that women's reality could adequately counter male fantasy was not enough." She further points out how "the sexualized image of woman says little or nothing about women's reality, but is symptomatic of male fantasy and anxiety that are projected onto the female image." Thus, Carnal Knowledge shows just how firmly secured the "male fantasy" and its "narrow identity" were in film's construction of women. Socially, this film points out the ways that positive results for feminism were never resolved during the 1970s. Mulvey, Visual and Other Pleasures, xiii.
50. "How College Girls Really Are," Life 59.25 (17 Dec. 1965): 66B.
51. Liz Smith, Letter to Jules Feiffer and film review, June 28, 1971, in Folder 7, Box 33, Jules Feiffer Collection.
52. S. K. "Spiritual Disease," Time (5 July 1971).
53. Roger Ebert, "Carnal Knowledge," Chicago Sun Times, 6 July 1971.
54. Joy Gould Boyum, "A Case for Fem Lib, in Film," Wall Street journal, 16 Aug. 1971.
55. Quote from Claire Johnston, "Women's Cinema as Counter-Cinema," in Teresa de Lauretis, Alice Doesn't: Feminism, Semiotics, Cinema (Bloomington: Indiana University Press, 1984), 4.
56. Boyum, "A Case for Fem Lib, in Film."
57. Liz Smith, Letter and film review, June 28, 1971, in Folder 7, Box 33, Jules Feiffer Collection.
58. De Lauretis Technologies of Gender, 11. De Lauretis has pointed out why women "must walk out of the malecentered frame of reference in which gender and sexuality are (re)produced by the discourse of male sexuality." This is because "the male-centered frame of reference" reproduces "gender and sexuality" as if natural and fixed. Other filmmakers made the sexual revolution attractive to mainstream cinema by constructing women as 1970s prostitutes in such films as The Owl and the Pussycat (1970) with Barbra Streisand and Klute (1971), for which Jane Fonda won an Oscar. More difficult was the balance between sexuality and power, especially since the sexual revolution was still equated with the Hefner vision of flaunting a woman's body parts. Ibid., 13-21.
59. This film was a way to "position women in the symbolic," to use de Lauretis's phrase. De Lauretis Technologies of Gender, 11.
60. De Lauretis maintains, "Cinema powerfully participates in the production of forms of subjectivity that are individually shaped and unequivocally social." The power of the carnal in this picture both promotes sexual desire and shaves the romance of sexual engagement away." De Lauretis, Alice Doesn't, 8.
61. Hillary Collins, The New Puritanism."
Chapter X
1. Bernard Weinraub, "Arthur Penn Takes on General Custer," The New York Times, 21 Dec. 1969.
2. Ibid.
3. Christene Meyers, "Western Movies Turn 100: Montana Takes Star Turn in Film," Billings Gazette, 21 Sep. 2003.
4. "The Chief," Newsweek (25 Jan. 1971): 80. The associate producer "discovered" George on screen at a San Fernando Valley movie theatre where George played in Smith!
5. Rey Chow argues that what seemed emancipatory in the "primitive" also came with its own oppression since film's "visuality" goes "beyond the merely physical dimension of vision." Images function "as a kind of dominant discourse of modernity" and as such contain "epistemological problems that are inherent in social relations and their reproduction." Rey Chow, Writing Diaspora: Tactics of Intervention in Contemporary Cultural Studies (Bloomington: Indiana University Press, 1993), 55.
6. Winifred Blevins, "Penn's `Little Big Man'Admirable," Los Angeles Herald-Examiner, 22 Dec. 1970.
7. Bruce Beresford, "Decline of a Master: John Ford," Film 56 (Autumn 1969): 6.
8. The OtherAmerica (Englewood Cliffs, NJ: Campus Book Club Scholastic Services, 1972).
9. Ibid. Philip Deloria noted, "Difference ... was not to be rejected, but rather embraced. First framed in the early twentieth century, confronted more directly in the post-World War II years, and quasi-institutionalized during the 1970s and 1980s, multiculturalism had become a key idea around which social meanings could be negotiated." Deloria further showed that "the presence of multicultural images and statements ... let Indian players claim a sincere, but ultimately fruitless, political sympathy with native people. Indeed, the New Age's greatest intellectual temptation lies in the wistful fallacy that one can engage in social struggle by working on oneself." Little Big Man was fully immersed in both the embracing of difference and "political sympathy." From both vantage points, the film exhibits the same kind of "wistful fallacy" seen in the
strategy of "working on oneself." Philip Deloria, Playing Indian (New Haven and London: Yale University Press, 1998), 172, 177.
10. Basically an urban contingency, members confronted the U.S. government at a standoff at Wounded Knee, South Dakota, in 1973 where activists battled for the sovereignty of the Oglala Nation. For a brief overview of the literature about this movement during the 1970s, see the notes in T. V. Reed, "Old Cowboys, New Indians: Hollywood Frames the American Indian," Wicazo S A Review (Summer 2001): 75-96.
11. Paul A. Hutton, "From Little Bighorn to Little Big Man: The Changing Image of a Western Hero in Popular Culture," The Western Historical Quarterly 7.1 (Jan. 1976), 38. As Hutton wrote in 1976, "Once a symbolic leader of civilization's advance into the wilderness, within one hundred years he came to represent the supposed moral bankruptcy of Manifest Destiny." Ibid., 19.
12. Andrew Curry, "Custer's Bluster," U. S. News and World Report, http://www.usnews.com/usnews/doubleis sue/mysteries/custer.htm.
13. Quote is from Lorna Thackeray, "The Custer Connection: Amazing Disaster' Resonates Still, especially in Big Horn County," Billings Gazette, 17 June 2001. Librarian Eric Halverson called Custer "the Michael Jackson of his day." Custer history, legends, and myths have produced thousands of research projects, books, and film for television and theaters. With them have come fierce debates and theories about the history of Little Big Horn, making it a site of contention about the meaning of America. Some twelve hundred books about Custer sit on library shelves and countless television and movie reels in archives. See also Paul A. Hutton, "The Celluloid Custer," Red River Valley Historical Review 4.4 (Fall 1979): 20-42, for a review of cinema's treatment of the Indians, and Hutton, "From Little Bighorn to Little Big Man," for an overview of the treatment of the Custer story over time. Custer was an educated writer, self-promoter, and military leader. The press at once editorialized the campaign and politicized its nature.
14. Margo Kasdan and Susan Tavernetti, "Native Americans in a Revisionist Western: Little Big Man," in Hollywood's Indian: The Portrayal of the Native American, ed. Peter Rollins and John E. O'Conner (Lexington: University Press of Kentucky, 2003): 121.
15. Charles Champlin, "Tragedy of Indian in `Man,"' Los Angeles Times, ca. 1970.
16. Roger Ebert, "Little Big Man Review," Chicago SunTimes, 1 Jan. 1970.
17. "The Chief," 80.
18. Judith Crist, "Joltin' Joe Never Had it So Good," New York Times, 21 Dec. 1970.
19. Paul Yawitz, "Movies," Beverly Hills Courier, 8 Jan. 1971.
20. "Little Big Man," Motion Picture Herald, 6 Jan. 1971.
21. Jacquelyn Kilpatrick, Celluloid Indians (Lincoln: University of Nebraska Press, 1999), 94.
22. Shelly Berton, "Motion Pictures," Show (Mar. 1971): microfiche, Core Collection Margaret Herrick Academy of Motion Picture Arts and Sciences Library, Beverly Hills, CA; Variety, 1 Jan. 1970.
23. Blevins, "Penn's `Little Big Man'-Admirable."
24. "The Current Cinema," The New Yorker (26 Dec. 1970): 50-54.
25. Dan Georgakas, "They Have Not Spoken: American Indians in Film," Film Quarterly 25.3 (Spring 1972): 30.
26. Chow explains that "the visual" is a modern discourse that holds "epistemological problems," which "inform the very ways social difference - be it in terms of class, gender, or race-is constructed." This "cultural expansionism" emancipates us from the past, on the one hand, but is "also Eurocentric and patriarchal" on the other. Chow, Writing Diaspora, 55.
27. Vincent Canby, "Film Seeking the American Heritage," The New York Times, 12 Dec. 1970.
28. Postmodernists treated history with skepticism and instead of accepting the traditional historical record, writers chose to revise historical accounts. Thus the history student in this film provides the context for postmodern skepticism of history. When Berger's novel hit the market, writers were in the throes of revisionism. Penn carried this distrust from Berger's novel into his film. Penn's Little Big Man reflected the novelists' intent to discount conventional conclusions in historical narratives, except of course those that are being satirized as in the film's rendition of Wild Bill Hickok. He is portrayed as more human but basically presented according to legend. Custer, on the other hand, is the key subject of the film's reversals and mythic deflations. This film offers a reevaluation and an alternative to the official records but no particular commitment to the truth. That is up to how viewers understand the tagline. See Michael Leigh Sinowitz, "The Western as Postmodern Satiric History: Thomas Berger's Little Big Man," CLIO 28.2 (1999): 129-148, for a discussion on postmodern strains in Berger's novel.
29. Penn's rationality in a revisionist project is similar to academic revisionism, which validates its worth through "objective rationality." In doing so, Chow claims "it erases its own implication in the history of Western cultural hegemony in the name of quantifiable scholarship. Those who share a `concern with social reality must be accompanied with a close attention to how language works - not so much in the creation of formal beauty as in the concealment of ideology."' Chow, Writing Diaspora, 134, 135.
30. Benon, "Motion Pictures.
31. Deloria, Playing Indian, 158.
32. As Chow explains, "Our fascination with the native, the oppressed, the savage, and all such figures is therefore a desire to hold on to an unchanging certainty somewhere outside our own `fake' experience. It is a desire for being `non-duped,' which is a not-too-innocent desire to seize control." Chow, Writing Diaspora, 53.
33. As Chow explains, the good Indian/bad white division encourages indifference rather than valuing difference because of "the persistently negative critique of dominant culture in total terms." The film's episodic structure literally proved what Chow refers to as the "vicious circle" or "as what Baudrillard calls ... `reduction of difference' and the facile `interchangeablitity."' The reductive identity of the primitive in the film's appropriation of Native American culture is the same as "reduction of difference." Chow, Writing Diaspora, 59.
34. Joan W Scott, "The Evidence of Experience," Critical Inquiry 17 (Summer 1991): 777.
35. Mark C. Carnes, ed., Past Imperfect.: HistoryAccord- ing to the Movies (New York: H. Holt, 1995).
36. Rey Chow explains that cultural traits are "the first step toward the formulation of a new type of cultural reference." Yet, to stop there is to ignore "social experience which is not completed once and for all but which is constituted by a continual, often conflictual, working-out of its grounds. As Hall puts it, `The slow contradictory movement from `nationalism' to `ethnicity' as a source of identities is part of a new politics."' Chow, Writing Diaspora, 143.
37. Deloria, Playing Indian, 157, 156, 159, 158, 163.
38. See endnote #38 in Chapter 6.
39. Helena Schwarz, "Accurate," The New York Times, 7 Feb. 1971.
40. DeLoria, Playing Indian, 161.
41. Chow asks "why are we so fascinated ... with the `native' in `modern' times" and she answered, "We turn, increasingly with fascination, to the oppressed to locate a `genuine critical origin."' Chow, Writing Diaspora, 42, 44.
42. "American Indians Struggling for Power and Identity," The New York Times, 11 Feb. 1979. See also Gary Edgerton, "'A Breed Apart': Hollywood, Racial Stereotyping, and the Promise of Revisionism in The Last of the Mohicans," Journal ofAmerican Culture 17.1 (Spring 1994).
43. Deloria, Playing Indian, 156, 163, 158. 159.
44. Jodi Rave, "Says Indian Students Deserve More Than Victim History," The Billings Gazette, 21 May 2007.
45. Vincent Canby, "Critic's Choice: Ten Best Films of 1970," The New York Times, 27 Dec. 1970.
46. The film played on Sunday, January 23, at the Park City, Utah Library Center and Tuesday, January 25, at the Holiday Village Cinema. The quotes are from the program.
47. Little Big Man, Core Collection, Margaret Herrick Library Academy of Motion Picture Arts and Sciences Library, Beverly Hills, CA.
48. Ibid.
49. John Price writes, films "were created as entertainment, but they cumulatively built a separate reality about Native cultures.... They ... are difficult stereotypes to correct in university courses on American Indians." John A. Price, "The Stereotyping of North American Indians in Motion Pictures," Ethnohistory 20.2 (Spring 1973): 154.
Chapter XI
1. Glenn Mann, "Ideology and Genre in the Godfather Films," in Francis Ford Coppola's The Godfather Trilogy, ed. Nick Browne (London: Cambridge University Press, 2000), 128.
2. Jon Lewis, "If History Has Taught Us Anything ... Francis Coppola, Paramount Studios, and The Godfather Parts I, II, and III," in Browne, The Godfather Trilogy, 26.
3. "The Making of the Godfather," Time (13 Mar. 1972): 62.
4. Emanuel Levy,AllAboutOscar: The History andPol- itics of the Academy Awards (New York and London: Continuum International Publishing Group, Inc., 2003), 159. See also Robert Osborn, Seventy Years of the Oscar: The Official History of the Academy Awards (New York, London, and Paris: Abbeville Press, 1999), 220. Only Bob Fosse's Cabaret took more awards than The Godfather at the forty-fifth Oscars.
5. Browne, The Godfather Trilogy, 17.
6. The company's goal was to give creative license to the director. With this company, it seemed possible that independents did not need Hollywood. By loaning filmmakers money based on revenue returns, Zoetrope, it was hoped, would become its own governing industry. By 1972 Paramount and Coppola released The Godfather and in 1974 The Godfather Part II and The Conversation.
7. Lewis, "If History Has Taught us Anything," 2930.
8. Roger Corman, "The Godfather and The Godfather Part II," Sight and Sound (Sep. 2002): 32. It was the occasion of the magazine's "Top Ten" films poll.
9. Browne, The Godfather Trilogy, 12, 17.
10. They turned to Al Ruddy because he "could make it cheap." Al Ruddy is quoted in Harlan Lebo, The Godfather Legacy: The Untold Story of the Making of the Classic Godfather Trilogy Featuring Never-Before Published Production Stills (New York: Simon and Schuster, 1997), 7.
11. Ibid., 12.
12. Lewis, "If History Has Taught Us Anything," 27.
13. Lebo, The Godfather Legacy, 23.
14. Lewis, "If History Has Taught Us Anything," 27.
15. Corman, "The Godfather and The Godfather Part II."
16. Coppla's words in Lebo, The Godfather Legacy, 30.
17. Thomas Schatz, Hollywood Genres: Formulas, Filmmaking, and the Studio System (New York: Random House, 1981), 90.
18. Vera Dika, "The Representation of Ethnicity," in Browne, The Godfather Trilogy, 93.
19. Lebo, The"Godfather Legacy, 63, 100.
20. Ibid., 63. As Lebo writes, "On many days in late 1970, Ruddy and his production team would arrive at their offices on the Paramount lot to find a gathering of protestors waiting for them on Melrose Avenue outside the gates. The protestors carried signs that read: INDIANS FOR INDIAN ROLES. MEXICANS FOR MEXICAN ROLES. ITALIANS FOR ITALIAN ROLES." Ibid., 39.
21. From "Coppolas Notebook," The Godfather Bonus Materials, produced by Paramount Pictures, 2001. DVD in disk.
22. Lebo, The Godfather Legacy, 64.
23. Ibid., 52; San Francisco attorney line is from "The Making of the Godfather," 59.
24. Ruddy's words in Lebo, The Godfather Legacy, 26, 25, 52, 92.
25. Coppola quoted in Robert K. Johnson, "Francis Ford Coppola," in Twayne's TheatricalArts Series, ed. Warren French (Boston: Twayne Publishers, 1977), 104.
26. "Coppolas Notebook," DVD.
27. Ibid.
28. Ibid.
29. Tom Koegh; http://www.super70s.com/Super70s/ Movies/1974/Godfather; Ronald Bergan, Francis Ford Coppola: The Making of His Movies (New York: Thunder's Mouth Press, 1998). Bergen writes, "As befits someone whose films have often concerned themselves with the workings of the family, Coppola's own family occupies a central position in his life. His musician father, Carmine, composed the scores for many of his features. [He and his] brother August (father of Nicolas Cage), to whom he dedicated Rumble Fish, have always had a close relationship. His younger sister, the actress Talia Shire, was Connie Corleone in The Godfather trilogy; his second son, Roman (named after Polanski), has worked as second-unit director and production assistant on his father's movies, and daughter, Sofia, who appeared in The Outsiders and Rumble Fish, had a leading role in The Godfather III."
30. Dika, "The Representation of Ethnicity," 78.
31. Lebo, The Godfather Legacy, 88.
32. Bob Evans quoted in "The Making of the Godfather," 59.
