NOTAS

NOTAS

1 “This simultaneity does not diminish the cultural "status" of the former so much as it changes its possible functions, with has far-reaching implications for how genres, and by extension popular culture, function in contemporary culture.” ² “The divergent, often confliction ways in which recent narratives rearticulate conventional structures of popular genres has become a distinguishing feature of contemporary textuality. (...) While stakes and strategies may differ profoundly, they do have one thing in common - the recognition that the features of conventional genre gilms that are subjugated do such intensive rearticulation are not the mere detritus of exhausted cultures past: those icons, scenarios, visual conventions continue to carry with them some sort of cultural charge or resonance that must be reworked according to the exigencies of the present.” ³ “At this point theses signs become doubly referential, referring to a "really real" world, but also to the reality of the array, which forms the the fabric of day-to-day experience in thoses very cultures. It is the individual negotiations of the array that form the delicate process of not just maintaining but constantly rearticulating cultural memories.” 4 “The past always catches up with them. (...) The loves seek freedom from Lula's well-off mother (Dianne Ladd) whose statu derives from gangsterism - in many ways more representative of American economic history than shop orners. (...) The underclass hell looms, and the concerns of Sailor, Lula, their family and community, collide with and mirror the cruel animal passions of its denizens. (...) They escaped from the ghetto, but expressing dangerous passion could return them there. To be safe, romance must stay withing the class and race limits staked out in geogrphy and psychology by conventionla American social structures.” 5 “(..) the move back in time away from the corrupt sophistication of media culture toward a lost authenticity defined simultaneously as a yet-to-be-contaminated folk culture of elemental purity, and as the site of successful narcissistic projection, the hero's magic mirror; the foregrounding not only of the intertextual, but of the "Urtextual", in which an originary genre text takes on a quasi-scred function as the guarantee of authenticity; the fetishizing of "belief" rather than irony as the only way to resolve conflict; the introduction of a new generic imaginary that becomes the only site where unresolvable conflict can be successfully resolved.” 6 “In the film (...), Catholic faith is portrayed as something it's pssessors labour under, even deny, but which is finally too strong for them: something insistent and ultimately beautiful. In order to describe this vision, Ferrara employs a series of narrative tableaux interrelating the venal and the sacred,”