The End Of Cinema As We Know It by Jon Lewis;

Author:Jon Lewis;
Language: eng
Format: epub
Publisher: New York University Press
Published: 2001-06-15T00:00:00+00:00

NOTES

1. Obviously, the increasing clout of stars extends beyond just cinema. Consider, for example, the case of Madonna, who is often considered the ultimate example of a star shaping her own career.

2. Indeed, it seems to me that such a procedure is to some degree similar to Jacques Derrida’s practice of playing on the associations inherent in the names of writers and philosophers for unsuspected clues to their work. In thus giving a place to what might appear to be chance connections, Derrida often discovers new ways of thinking about the work under consideration.

3. For this reason, also, I have followed the usage of his fans, and much of the press, by referring to him throughout this essay by his first name.

4. See, for example, Chris Willman, “The Radical Reality of Keanu Reeves,” Los Angeles Times, July 17, 1991, Calendar Section, p. 1.

5. Michael Shnayerson, “Young and Restless,” Vanity Fair, August 1995, 96.

6. Quoted in Willman, “The Radical Reality of Keanu Reeves,” 1.

7. Quoted in Willman, “The Radical Reality of Keanu Reeves,” 1.

8. Quoted in Kristine McKenna, “Keanu’s Eccentric Adventure,” Los Angeles Times, June 5, 1994, Calendar Section, p. 3.

9. Lisa Schwarzbaum, “Techno Prisoners,” Entertainment Weekly, April 9, 1999. Available at http://www.ew.com/ew/archive/1,1798,1|25536|0|The_Matrix,00.html (5/25/00).

10. Charles Taylor, “Something in the Way He Moves: In Defense of Keanu Reeves,” Salon, April 29, 1999, 2. Available at http://www.salon.com/ent/movies/feature/1999/04/29/keanu/index1.html (5/25/00).

11. Steven Shaviro, The Cinematic Body (Minneapolis: University of Minnesota Press, 1993), 206.

12. Michel Foucault, “Theatrum Philosophicum,” in Language, Counter-Memory, Practice, ed. Donald F. Bouchard, trans. Donald F. Bouchard and Sherry Simon (Ithaca: Cornell University Press, 1977), 188–89.

13. Chris Heath, “The Quiet Man: The Riddle of Keanu Reeves,” Rolling Stone, no. 848 (August 31, 2000): 52.

14. Taylor, “Something in the Way He Moves,” 2.

15. Shnayerson, “Young and Restless,” 95.

16. Heath, “The Quiet Man: The Riddle of Keanu Reeves.”

17. Dennis Cooper, “Keanu Reeves,” Interview 20, no. 9 (September 1990): 134.

18. Shnayerson, “Young and Restless,” 146.

19. Jim Turner, “Much Ado about Keanu,” Detour, May 1, 1993, available at http://keanuweb.com/reports/19990258.htm (3/31/00).

20. See “Cool Breeze,” at www.keanunet.com/cool.htm (3/25/00).

21. As Avital Ronell has noted, the issue of stupidity inflects everything from “contemporary debates on affirmative action” to “seemingly less lacerating assertions of stupidity (shallow, airhead, bimbo, braindead, etc.),” all of which are part of “a sinister history” that puts into question the aptitude, educability, and intelligence of those who are seen as other. “The Uninterrogated Question of Stupidity,” Differences: A Journal of Feminist Cultural Studies 8, no. 2 (1996): 3.

22. Clearly, both My Own Private Idaho and Johnny Mnemonic (1995) also focused on issues of memory and identity. Feeling Minnesota also might be said to touch on the relationship of stupidity and identity.

23. I leave aside here the trips that Bill and Ted take, the continual, frantic running of Chain Reaction (1996), as well as the odyssey of My Own Private Idaho.

24. Taylor, “Something in the Way He Moves,” 1.

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