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Chapter 7 1. Arjun Appadurai, 'Disjuncture and Difference in the Global Cultural Economy,' Public Culture 2, no. 2 (spring 1990): 2.
2. Intriguingly, Fredric Wertham's writings had been read by Joseph Losey, as background for the character of the child-murderer in the remake of M(1951).
3. For good discussions of The Fugitive and Miami Vice, see James Ursini, 'Angst at Sixty Fields per Second,' and Jeremy G. Butler, 'Miami Vice: The Legacy of Film Noir,' in Alain Silver and James Ursini, eds., The Film Noir Reader (New York: Limelight Editions, 1996).
4. Alain Silver and Elizabeth Ward, eds., Film Noir: An Encyclopedic Reference to the American Style (Woodstock: Overlook Press, 1992), 1.
5. Barbara Klinger, Melodrama and Meaning: History, Culture, and the Films of Douglas Sirk (Bloomington: Indiana University Press, 1994), 140.
6. This picture has in fact influenced the way contemporary audiences view the past. The current laser-disk edition of Possessed (1947) carries a blurb describing the film as a 'Fatal- Attraction thriller.'
7. R. Barton Palmer, Hollywood's Dark Cinema: The American Film Noir (New York: Twayne, 1994), 184.
8. Thomas Pynchon, Vineland (New York: Penguin, 1991), 326.
9. For an intelligent and more sympathetic account of the postmodern marketplace, see Timothy Corrigan, A Cinema without Walls (New Brunswick: Rutgers University Press, 1991). Corrigan offers a wide-ranging discussion of the ways in which contemporary movies affect spectatorship, genres, and auteurs.
10. In 1991, Stephen Soderbergh filmed Kafka, which is perhaps his most unalloyed art movie.
11. A more deconstructive use of similar materials in literature may be found in Robert Coover's short story 'Gilda's Dream,' in Night at the Movies: Or, You Must Remember This (Normal, Ill.: Dalkey Archive Press, 1997).
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