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Introduction Notes Introduction 1. See David Bloch (2007) Aristotle on Memory and Recollection: Text, Translation, Interpretation, and Reception in Western Scholasticism (Leiden: Koninglijke Brill NV), pp. 53–117. He refutes Richard Sorabji’s view, ed. (1972) Aristotle. On Memory (Providence: Brown University). 2. See John Lyons (1999) ‘Descartes and Modern Imagination’, Philosophy and Literature 23.2, 302–312. 3. See Endel Tulving (1983) Elements of Episodic Memory (Oxford: Clarendon Press); (2002) ‘Episodic Memory: From Mind to Brain’ Annual Review of Psy- chology 53, 1–25. Daniel Schacter and Endel Tulving eds. (1994) Memory Systems (Cambridge, MA: MIT Press). 4. See Daniel Schacter (1996) Searching for Memory: The Brain, the Mind, and the Past (New York: BasicBooks); (2002) The Seven Sins of Memory: How the Mind Forgets and Remembers (Boston: Houghton Mifflin). See also Morris Moscovitch (1994) ‘Cognitive Resources and Dual-task Inter- ference at Retrieval in Normal People: The Role of Frontal Lobes and Medial Temporal Cortex’, Neuropsychology 8, 524–534; (1997) ‘Memory Consolidation, Retrograde Amnesia and the Hippocampal Complex’, Current Opinion in Neurobiology 7, 217–227. Greg Miller (2007) ‘A Surprising Con- nection between Memory and Imagination’, Science 19 January, http://www. sciencemag.org/content/315/5810/312.summary. Accessed 20 April 2012. 5. Charles Baudelaire (1965) ‘The Salon of 1846’ in Art in Paris 1845–1862 trans. and ed. Jonathan Mayne (Ithaca, NY: Cornell University Press), p. 94. He also distinguishes between a memory of the hand and a memory of the brain, ‘manual rather than intellectual’, p. 92. Hereafter AP. 6. Julien Zanetta (2012) ‘Le chic, la mémoire et l’imagination’, L’année Baudelaire 15, 102–122. In his dissertation at the University of Geneva, Zanetta studies the various forms of memory in Baudelaire and the devel- opment of his conceptions from 1846 to 1862. 7. Sergei Eisenstein (1984) ‘Diderot a parlé de cinéma’, Europe (Issue: ‘Diderot’), pp. 135–150. Eisenstein wrote this article in 1943. See Jean-Claude Bonnet (1995) ‘Diderot a inventé le cinéma’, Recherches sur Diderot et sur l’Encyclopédie 18, 27–33; Roland Barthes (1977) ‘Diderot, Brecht, Eisenstein’ in Image Music Text. Essays selected and trans. Steven Heath (Hammersmith, London: Fontana Press), pp. 70–71. 8. Stanley Cavell (1979, first ed. 1971) The World Viewed (Cambridge, MA; London: Harvard University Press), p. 43. 9. Ibid., p. 41. 10. At the beginning of The Painter of Modern Life, Baudelaire deplores those visitors of the Louvre who walk rapidly through the museum galleries 212 Notes 213 admiring only a Titian or a Raphael, and disregarding secondary interesting paintings that offer historical documentation. 11. Charles Baudelaire (1965) The Painter of Modern Life and Other Essays trans. and ed. Jonathan Mayne (London: Pahidon Press), p. 15. Hereafter PML. I discussed the theme of memory and imagination in Patrizia Lombardo (1997) ‘Baudelaire et le beau mensonge de la peinture’ in Le Beau Mensonge (Rabat: Université Mohammed V, Faculté des lettres et des sciences humaines), pp. 63–86. 12. See Kendall Walton (1990) Mimesis as Make-believe: On the Foundations of the Representational Arts (Cambridge, MA: Harvard University Press); Noël Carroll (2002) ‘The Wheel of Virtue: Art, Literature, and Moral Knowledge’, The Journal of Aesthetics and Art Criticism 60/1, 3–26. 13. Ronald de Sousa (2005) ‘The Art of the Possible in Life and Literature’ in Experience and Analysis, ed. M. E. Reicher and J. C. Marek (Vienna: htp-öbv), p. 349. 14. David Bordwell (1982) Narration in the Fiction Film (Madison, Wisconsin: The University of Wisconsin Press), p. 88. 15. David Bordwell (2007) Poetics of Cinema (Routledge: New York and Oxon), p. 23. 16. Ibid., p. 4. 1 Living in Manhattan in the 19th Century 1. Martin Scorsese (2003) Gangs of New York: Making the Movie (New York: Miramax Books), p. 20. 2. Stéphane Mallarmé (1945) Œuvres Complètes (Paris: Gallimard ‘Bibliothèque de la Pléiade’), p. 366; Selected Poetry and Prose (1982) trans. Mary Ann Caws (New York: New Directions Books), p. 75. Mallarmé’s idea of ‘the disappearance of the poet as speaker’ has been discussed in various essays by Marice Blanchot. See (1959) ‘Le livre à venir’ in Le Livre à venir (Paris: Gallimard, Folio); and (1949) ‘Le mythe de Mallarmé’ in La part du feu (Paris: Gallimard). 3. Orson Welles showed this in his F for Fake: some degree of charlatanism is essential for art, and artists take or ‘steal’ from here and there; indeed they pinch ideas and stereotypes from the past and present history of the arts. As declared by the protagonist, after all what matters in art is not the difference between the true original and the fake, but the difference between a bad fake and a good fake. 4. Martin Scorsese (1998) Mes Plaisirs de cinéphile (Paris: Cahiers du cinéma), p. 86. Hereafter MPC. This article was first published in (1995) Les Cahiers du Cinéma 500. The whole issue is on Scorsese. 5. David Bordwell (1982) Narration in the Fiction Film (Madison, Wisconsin: The University of Wisconsin Press), p. 88. Among the rich literature on narra- tive see Gregory Currie (2010) Narrative and Narrators: A Philosophy of Stories (Oxford, New York: Oxford University Press). 6. André Malraux (1951) Les Voix du silence (Paris: Gallimard), p. 110. See also the preface of Jean-Claude Larrat in André Malraux (2003) Esquisse d’une psychologie du cinéma (Paris: Nouveau Monde), pp. 17–25. 214 Notes 7. Stendhal (1982) Journal Œuvres intimes II (Paris: Gallimard, ‘Bibliothèque de la Pléiade’), p. 231. ‘I protest again that I do not pretend to paint things in themselves, but only their effect on me’ Stendhal (1982) Vie de Henry Brulard in Œuvres intimes II (Paris: Gallimard, ‘Bibliothèque de la Pléiade’), p. 671. 8. See Bordwell, Narration in the Fiction Film cit. p. 99. 9. See http://www.nytimes.com/2012/06/14/nyregion/henry-hill-mobster-of- goodfellas-dies-at-69.html?_r=2&pagewanted=all&. Accessed 12 June 2013. 10. Robert Fisk (20 January 2013) ‘Ben Affleck, Argo and a Chilling Portrait of Suspicion and Vengeance in Postrevolutionary Tehran’, http://www. independent.co.uk/voices/comment/ben-affleck-argo-and-a-chilling-portrait- of-suspicion-and-vengeance-in-postrevolutionary-tehran-8459100.html. Accessed 4 April 2013. 11. See Ted Chamberlain (24 March 2003) ‘Gangs of New York: Fact vs. Fiction’ in National Geographic. http://news.nationalgeographic.com/news/2003/03/ 0320_030320_oscars_gangs.html. Accessed 23 June 2013. ‘Dead Rabbits’ comes from the Gaelic ráibéad meaning ‘big hulking fellow’ or ‘thug’ and the 1850’s slang ‘dead’ meaning ‘very’. 12. William J. Stern, ‘What Gangs of New York Misses’ http://www.city-journal. org/html/eon_1_14_03ws.html. Accessed 23 May 2013. 13. This important critic interrogated the category of the ‘romanesque’. See Albert Thibaudet (1938) Réflexions sur le roman (Paris: Gallimard), pp. 110–116. 14. Walter Benjamin (1989 first published 1969) ‘Thesis on the Philosophy of History’ in Illuminations: Essays and Reflections (New York: Harcourt, Brace & World), p. 256. It should be added that Gangs of New York ends on a final note of hope: the two young lovers, Amsterdam and Jenny, look at the spectacle of New York and the city opens up in space and time, transforming its skyline into the contemporary one. 15. See Seth F. Abrams and Roes Keefe (2011) The Killing of Bill the Butcher: William Poole and the Battle for Old New York (New York: Gotham Press). 16. Edgar Allan Poe (1984) ‘The Man of the Crowd’ in Poetry and Tales (New York: The Library of America), p. 395. 17. Peter Goldie (2011) Empathy: Philosophical and Psychological Perspectives (Oxford: Oxford University Press). Keith Oatley (2009) ‘Literature and Emo- tion’ in D. Sander, and K.R. Scherer (eds.) The Oxford Companion to Emotion and the Affective Sciences (Oxford: Oxford University Press); and (2011) ‘The- ory of Mind and Theory of Minds in Literature’ in P. Leverage, H. Mancing, R. Schweickert and J. M. William (eds.) Theory of Mind and Literature (West Lafayette, IN: Purdue University Press), pp. 13–26. 18. Noël Carroll (1990) The Philosophy of Horror, or Paradoxes of the Heart (New York: Routledge), p. 74. 19. ‘The processing of real and fictional scenarios activated a common set of regions including medial-temporal lobe structures.’ (Anna Abraham, D. Yves von Cramon and Ricarda I. Schubotz (2008) ‘Meeting George Bush versus Meeting Cinderella’, Journal of Cognitive Neurosciences 20(6), 965). http:// www.mitpressjournals.org/doi/abs/10.1162/jocn.2008.20059. Accessed 30 June 2013. Notes 215 20. Plato (1969) Plato in Twelve Volumes Vols. 5 & 6 trans. Paul Shorey (Cambridge, MA, Harvard University Press; London, William Heinemann Ltd) (Book 10, 598b). 21. As indicated by Noël Carroll (1997) ‘Art, Narrative and Emotions’ in Mette Hjort and Sue Laver eds. Emotion and the Arts (New York, Oxford: Oxford University Press), pp. 194–200. 22. Aristotle (1995) Poetics in The Complete Works of Aristotle ed. Jonathan Barnes (Princeton: Princeton University Press), p. 2326 (1453b). 23. ‘The emotions are all those feelings that so change men as to affect their judgements, and that are also attended by pleasure and pain. Such are anger, pity, fear and the like with their opposities.’ (Aristotle Rhetoric Book 2 in The Complete Works of Aristotle cit., p. 2195 (1378a). 24. William Hazlitt (1998) ‘Othello’ in Duncan, W.U. ed. The Selected Writings of William Hazlitt vol. I (London: Pickering and Chatto), p. 112. Hazlitt’s essay was published in 1817. 25. David Hume (1978) Treatise of Human Nature (Oxford: Clarendon Press), p. 593. 26. Adam Smith (1976) The Theory of Moral Sentiments (Oxford: Clarendon Press), VII, iii, 1, 4, p. 317. 27. William Hazlitt (1998) An Essay on the Principles of Human Action: Being an Argument in Favour of the Natural Disinterestedness of the Human Mind in The Selected Writings of William Hazlitt vol.
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