1. See Thomas Doherty’s “Sex, Half-Truths and Videotape: Autofocus and Confessions of a Dangerous Mind, Cineaste 28.2, Spring 2003, pp. 10-13.[return to page 1 of essay]
2. Roland Barthes, Mythologies, translated by Annette Lavers, New York: Hill and Wang, 1972, p. 109. Barthes’ preliminary reliance on semiotics cannot be overstated, yet he recognized the limitations of structuralism and its rigid adherence to an analysis of how spoken language functions. He theorized that myth meant more than spoken words; he allowed for the concept to grow and develop into something more than a simple theory to better understand language.
3. This is an important distinction to consider because the historical film (or films that utilize historical backdrops to ground the narrative) have been commonplace (to one degree or another) in U.S. and world cinema since its beginnings.
4. See Jean Baudrillard, Simulacra and Simulation, trans. Sheila Faria Glaser, Ann Arbor: Univ. of Michigan Press, 1994, page 43.
5. See www.imdb.com
6. See David Hunter’s Confessions of a Dangerous Mind. http://www.hollywoodreporter.com/hr/
7. See Peter Travers' review Confessions of a Dangerous Mind. http://www.rollingstone.com/reviews/movie/
8. See Roger Ebert’s review Confessions of a Dangerous Mind. http://rogerebert.suntimes.com/apps/pbcs.d11/
9. Peter Travers.
10. John Fiske, Television Culture, New York: Meuthen, 1987, page 265.
11. Ibid 265.
12. Ibid 267.
13. Slavoj Zizek, Welcome to the Desert of the Real: Five Essays on September 11 and Related Dates, New York: Verso, 2002, page 25.[return to page 2 of essay]
14. Eileen Meehan, Why TV is Not Our Fault, New York: Rowman and Littlefield, 2005, page 23.
15. Steven D. Stark, Glued to the Set: The 60 Television Shows and Events that Made Us Who We Are Today, New York: Free Press, 1997, pages 119-123. He discusses how The Dating Game changed U.S. television because it showed that Americans were having sex not only within the confines of marriage.
16. See imdb.com
17. Charlotte Garson, “Cathodic Discourse,” Cahiers du Cinéma, trans. Sally Shafto, http://www.cahiersducinema.com/
18. Owen Glieberman, “Good Night and Good Luck,” Entertainment Weekly, September 21, 2006
19. Graham Fuller “Confessions of a Dangerous Mind: George Clooney,” Sight and Sound, March 2006, page14.
20. Stephen Hunter, “Good Night: A Gray Era in Stark Black and White,” Washington Post, October 7, 2005,
21. Jonathan Rosenbaum, “The Constant Compromise: Good Night and Good Luck,” Chicago Reader,
22. Rob Feld, “Q&A with George Clooney and Grant Heslov,” in Good Night and Good Luck: The Screenplay and History Behind the Landmark Movie, New York: Newmarket Press, 2005, page 95. This statement can also be applied to his first film I believe because it is apparent that what Clooney knows and understands of how broadcast television functions.[return to page 3 of essay]
23. Ibid 77.
24. Clooney and Heslov, “Good Night and Good Luck,” New York: Newmarket Press, 2005, page 102.
25. Murrow, “How TV Can Help Us Survive,” TV Guide, December 13, 1958, page 23.
26. Murrow, page 23.
27. John Fiske, Television Culture, New York: Meuthen, 1987, page 281. He argues that news becomes a commodity because of the expense required to gather and distribute information to the populace.
28. Pierre Bourdieu, page 50.
29. Feld, 89.
30. Stephen Hunter.
31. Clooney and Heslov, page 78-79.
32. Stark, page 43.
33. Murrow, page 24.
34. Murrow, page 25.