JUMP CUT
A REVIEW OF CONTEMPORARY MEDIA

Notes

Acknowledgments: I am grateful for the help of my research assistants, Iris Eu and Kasey Man Man Wong in the preparation of this manuscript.

1. For more on this earlier period, see Marchetti,“Fringe Cultures.”
[return to page 1]

2. Richard Hell also made a film called Blank Generation (1980), directed by Fassbinder regular, Ulli Lommel, who had moved to New York and collaborated with Andy Warhol before making this fiction feature about punk rock.

3. For a detailed analysis of the exhibition, see Johnson, “David Bowie Is.”

4. Stark also participated in the Victoria and Albert Exhibition.

5. See Cohen, Folk Devils and Moral Panics: The Creation of the Mods and Rockers. [return to page 2]

6. See Rich, New Queer Cinema: The Director’s Cut.

7. See Sontag, “Notes on Camp.”

8. Hoberman mentions Pat Place, who is in Conrad’s article, as a performer but not a director.

9. See Mapplethorpe, Robert Mapplethorpe: Black Book. To be fair, Smith was in Detroit during this period in Mapplethorpe’s career.

10. Other feature films acknowledged women and girls within the punk subculture. For an appraisal of Allan Moyle’s Times Square (1980) as one example, see Kleinhans, “Girls on the Edge of the Reagan Era.” [return to page 3]

11. Basquiat’s father was Haitian and his mother Puerto Rican, and he drew on his Caribbean heritage as well as on the broader African American community in his oeuvre.

12. For Holman’s side of the story, see Jonah, “Michael Holman Talks Glam Rock, Graffiti Rock, Basquiat and Blue’s Clues.”

13. Kevin J. Hunt calls Bowie’s portrayal of Warhol “automaton-like” (185) in “The Eyes of David Bowie.”

14. For more on Cheang, see Marchetti, “Cinema Frames, Videoscapes, and Cyberspace: Exploring Shu Lea Cheang’s Fresh Kill.”

15. For more on Bauhinia, see Ford, “Global Aches: Teaching Evans Chan’s Bauhinia.”

16. For another reading of Bowie in Merry Christmas, Mr. Lawrence, see Derfouti, David Bowie: Critical Perspectives.

17. Chuck Stephens also makes this connect in “Lawrence of Shinjuku: Merry Christmas Mr. Lawrence.” Stephens also makes the connection to the queer themes in Oshima’s Gohatto (1999).

18. For an analysis of this film, see Marchetti, Romance and the “Yellow Peril”: Race, Sex, and Discursive Strategies in Hollywood Fiction.

19. For another reading of race and “China Girl,” see Waldrep, “The ‘China Girl’ Problem: Reconsidering David Bowie in the 1980s.”

20. Read more: Kirby, “’We Both Understand the Difference between the Person and the Persona’: David Bowie’s Widow Iman Reveals What Made Their 24-Year Marriage Last in Touching Interview Recorded Before He Died.”

21. See Bourdieu, Distinction: A Social Critique of the Judgement of Taste.

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