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Notes
1. Harvey, A Brief History of Neoliberalism, 65.
2. Gill and Scharff, New Femininities: Postfeminism, Neoliberalism and Subjectivity, 7.
3. Ibid., 7.
4. McLean, Dying Swans and Madmen: Ballet, The Body and Narrative Cinema, 14.
5. Ibid., 22.
6. Ibid., 16.
7. Gill, “Postfeminist Media Culture: Elements of a Sensibility,” in European Journal of Cultural Studies, 151.
8. Ibid., 155.
9. Ibid., 151.
10. Ibid., 149.
11. Bartky, Femininity and Domination: Studies in the Phenomenology of Oprression, 40.
12. McRobbie, The Aftermath of Feminism: Gender, Culture and Social Change, 96.
13. Ibid., 94.
14. Ibid., 97.
15. Radden, The Nature of Melancholy: From Aristotle to Kristeva, 15.
16. Fisher and Jacobs, “Debating Black Swan: Gender and Horror,” in Film Quarterly, 59.
17. Laine, Bodies in Pain: Emotion and the Cinema of Darren Aronofsky, 128.
18. Ibid., 154.
19. Quoted in Bowring, A Field Guide to Melancholy, 42
20. Bronfen, Over her Dead Body: Death, Femininity and the Aesthetic, xi.
21. Ibid., 64.
22. Negra, What a Girl Wants? Fantasizing the Reclamation of Self in Postfeminism, 48.
23. Banes, Dancing Women: Female Bodies on Stage, 6.
24. McLean, Dying Swans, 15.
25. Ibid., 218. McLean notes, for example, that in Flashdance, ballet experts express disdain for the heroine due to her working class and racial status, while in Save the Last Dance, the ballet is represented as uptight and snobbish in comparison to the hip-hop and club dancing favored by the African-American characters.
26. Dyer, White, 127.
27. Ibid., 130.
28. Ibid., 130.
29. Lott, “The Whiteness of Film Noir,” in American Literary History, 543.
30. Ibid., 549.
31. Ibid., 546.
32. Ibid., 543.
33. Ahmed, “A Phenomenology of Whiteness,” in Feminist Theory, 154.
34. As influentially termed by Linda Williams in her 1991 Film Quarterly article “Film Bodies: Gender, Genre and Excess.”
35. Shaviro, “Black Swan” in The Pinocchio Theory, n.p.
36. Pierre Bourdieu argues that aesthetic choices and tastes work to maintain class hegemony in the canonical text Distinction: A Social Critique of the Judgement of Taste.
37. Singer, Melodrama and Modernity, 11.
38. Brooks, “Melodrama, Body, Revolution,” in Melodrama: Stage, Picture, Screen, 11.
39. Ibid., 19.
40. Morey, “Grotesquerie as Marker of Success in Aging Female Stars.” In The Limelight and Under the Microscope: Forms and Functions of Female Celebrity, 104.
41. Turner, Understanding Celebrity, 34.
42. Ibid., 35.
43. Barry King argues in his 2008 Social Semiotics article “Stardom, Celebrity and the Para-Confession” that televised celebrity confessionals on shows such as Oprah perform a similar function in protecting the integrity of the star as marketable commodity (122).
44. Marshall, Celebrity and Power: Fame in Contemporary Culture, 6.
45. Geraghty, "Re-Examining Stardom: Questions of Texts, Bodies and Performance, in Reinventing Film Studies, 187.
46. Ibid., 187–189.
47. Esch, “I Don't See Any Method At All: The Problem of Actorly Transformation,” in Journal of Film and Video, 96.
48. Ibid., 98.
49. A sought-after actress in the 1990s, Ryder starred in popular vehicles including Edward Scissorhands (Dir. Tim Burton 1990), The Age of Innocence (Dir. Martin Scorsese 1993) and Little Women (Dir. Gillian Armstrong 1994), before suffering a significant decline in professional status after a highly publicized arrest for shoplifting in 2001.
50. As quoted in “Role Reversal,” an interview with the actress conducted by fellow actor Tom Hiddleston for Elle magazine in November 2013.
51. Lopez, “Natalie Portman on Black Swan: I'm Only Acting Dammit!,” in Vanity Fair, n.p.
52. Dyer, Stars, 141.
53. Marshall, Celebrity and Power: Fame in Contemporary Culture, 89.
54. Malague, An Actress Prepares: Women and The Method, 18.