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Notes
1 Raewyn Connell, Masculinities, 77.
2 Ibid.
3 Ibid.
4 Ibid., 79.
5 Ibid.
6 Ibid., 78.
7 Ibid.
8 Ibid., p. 80.
9 Grist, ‘Masculinity, Violence, Resistance’.
10 Berliner, ‘Visual Absurdity in Raging Bull’, 46.
11 Connell, Masculinities, 76-7.
12 Grist, ‘Masculinity, Violence, Resistance’, 11.
13 Whilst ‘black-and-white’ is commonly used, ‘monochrome’ is more technically precise: Dix (Citation2016), 37.
14 Berliner, ‘Visual Absurdity in Raging Bull’, 65.
15 Irene Lottini, ‘The Italian-American Prizefighter: Ethnicity in Martin Scorsese’s Raging Bull’, 105.
16 Ibid., 110.
17 Connell, Masculinities, 78.
18 Ibid., 81.
19 Peggy McCormack, ‘Women in Raging Bull: Scorsese’s Use of Determinist, Objective, and Subjective Techniques’, 107.
20 Ibid., 106.
21 Booth (Citation1961), 188, 274, 279-81.
22 Ibid., 106.
23 Ibid., 107.
24 Ibid., 114.
25 Ibid.
26 Mortimer, ‘Portraits of the Postmodern Person’, 34.
27 Cheng, ‘Marginalized Masculinities and Hegemonic Masculinity’, 298.
28 Connell, Masculinities, 79.
29 Ibid.
30 Cheng, ‘Marginalized Masculinities and Hegemonic Masculinity’, 298.
31 McCormack, ‘Women in Raging Bull’, 92.
32 Laura Mulvey, ‘Visual Pleasure and Narrative Cinema’, 11. Available at: https://doi.org/10.1093/screen/16.3.6. (Accessed 24 December 2023).
33 Ibid.
34 McCormack, ‘Women in Raging Bull’, 101.
35 Ibid., 94.
36 Kathy Woodward (Citation2006), 2.
37 Ellexis Boyle et al. (Citation2006), 99-116 (p. 100). Available at: https://doi.org/10.1123/ssj.23.2.99 (Accessed 24 December 2022).
38 Such as Letteri (Citation2011), 205; Boyle et al. (Citation2006), 107–8; or Di Risio (Citation2012), 49.
39 Woodward, Boxing, Masculinity and Identity, 138.
40 Channon et al. (Citation2018), 383-391 (p. 383). Available at: https://doi.org/10.3917/corp1.016.0383 (Accessed 21 January 2023).
41 Tom Brown (Citation2013), x.
42 Grindon (Citation1996), 54-69 (59). Available at https://www.jstor.org/stable/1225717 (Accessed 3 January 2023).
43 Mulvey, ‘Visual Pleasure and Narrative Cinema’, 12.
44 Ibid., 11.
45 Humm (Citation1997), 25.
46 Young (Citation2017), 816-832 (821). Available at: https://doi.org/10.1080/17430437.2016.1221928 (Accessed 6 December 2022).
47 Since publishing Female Masculinity under the name ‘Judith’, Halberstam has undergone gender transition, so now uses male pronouns and the name ‘Jack’.
48 Jack Halberstam (Citation1998), 13.
49 Susan Cahn (Citation1993), 279.
50 Halberstam, Female Masculinity, 272.
51 Ibid., 270; quoted in Boyle et al., ‘Representing the Female Pugilist’, 104.
52 Richard Letteri (Citation2011), 204-217 (p. 208). Available at: https://doi.org/10.1080/10509200802641101 (Accessed 1 January 2023).
53 Lynne Luciano (Citation2007), 41-65.
54 Letteri Citation2011, 208.
55 Boyle et al., ‘Representing the Female Pugilist’, 104.
56 Martin Johnes and Matthew Taylor (Citation2020), 1349-1377 (p. 1349). Available at https://doi.org/10.1017/S0018246X19000724 (Accessed 12 November 2022).
57 Such as Letteri (Citation2011), 112; Di Risio (Citation2012), 49; Boyle et al. (Citation2006), 101.
58 Boyle et al., ‘Representing the Female Pugilist’, 105.
59 hooks’ name is stylised without capitals.
60 bell hooks, (1995), 98-106 (p. 103); Quoted in Boyle et al., ‘Representing the Female Pugilist’, 105-6.
61 Ibid., 105.
62 McCabe, Feminist Film Studies, 8.
63 Dix, Beginning Film Studies, 53.
64 Ibid.
65 Letteri, ‘Dirty Baby’, 205.
66 Ibid., 212.
67 Katie Ellis and Gerard Goggin (Citation2018), 355-364 (p. 357).
68 Michael Jeffres (2022), 35.
69 Carol Oates, On Boxing, 73.
70 Boddy, Boxing: A Cultural History, 9.
71 Thomas Johansson (2023), 49-59 (p. 49). Available at: https://doi.org/10.1332/204674321X16693961177375. (Accessed 7 November 2022).
72 Paige Schneider (Citation2020), 887-900 (p. 887). Available at: https://doi.org/10.1080/09589236.2020.1826294 (Accessed 6 November 2022).
73 Such as Laura Mulvey (Citation1989), 29-38.
74 Christy Halbert (Citation1997), 7-36 (p. 7). Available at: https://doi.org/10.1177/019372397021001002. (Accessed 12 January 2023).
75 Malissa Smith (Citation2014), xv.
Additional information
Notes on contributors
Callum McGrath
Callum McGrath is a forthcoming Film and Screen Studies MPhil student at the University of Cambridge, and a recent English graduate of Loughborough University.