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Notes
1. McLuhan and Fiore, The Medium Is the Massage.
2. Debord, The Society of the Spectacle; Baudrillard, Simulacra and Simulation.
3. Jameson, “Reification and Utopia in Mass Culture,” p. 32.
4. Doyle, “Ethnic Stereotyping? Fuhgeddaboutit.” R2.
5. Gilbert, “Life with (God)Father,” pp. 11–25.
6. Jameson, Postmodernism, p. xvii.
7. Heffernan, “The Real Boss of The Sopranos,” pp. B1–2; James, “Sopranos: Blood, Bullets, and Proust,” p. E2.
8. Edgerton, The Sopranos, p. 7.
9. Palmer, “Exploring Longform Narrative Story Structure.”
10. Virgil, The Aeneid, 1:462.
11. Alighieri, “Inferno,” in The Portable Dante, Canto XVIII, 130–132.
12. Lavery and Thompson, This Thing of Ours, p. 38.
13. Polan, The Sopranos, p. 67.
14. Bordwell, The Way Hollywood Tells It, pp. 121–138.
15. James, Aspects of the Novel, pp. 26–27.
16. Barthes, S/Z, p. 46.
17. Kermode, The Sense of an Ending, p. 19.
18. Eco, The Open Work, p. 3.
19. Polan, The Sopranos, p. 67.
20. Heffernan, “Real Boss,” p. B2.
21. Polan, The Sopranos, p. 89.
22. Attributed to Anton Chekhov by film director Michelangelo Antonioni, in Tomasulo, “Life Is Inconclusive,” p. 166.
23. Shlovsky, O Teorii Prozy, p. 176.
24. Schrader, Transcendental Style in Film, p. 33.
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Notes on contributors
Frank P. Tomasulo
Frank P. Tomasulo is a Core Certified Professor of Film Studies for National University, where he teaches on-line graduate seminars on film history, theory, genres, and national cinemas. He has published widely on various aspects of cinema and television studies, and was Editor of both Journal of Film and Video and Cinema Journal.