1. Dennis Bingham, Acting Male: Masculinities in the Films of James Stewart, Jack Nicholson, and Clint Eastwood (Piscataway, N.J.: Rutgers University Press, 1994), pp. 163–245.
2. For an excellent definition that is particularly relevant to Eastwood’s films and his working through stereotypic masculine ideals and genres, see Judith Butler, Gender Trouble: Feminism and the Subversion of Identity (New York: Routledge, Chapman and Hall, 1990), p. 147.
3. For a longer discussion of Walter Benjamin’s notion of the phantasmagoria, see Drucilla Cornell, Moral Images of Freedom: A Future for Critical Theory (Lanham, Md.: Rowman & Littlefield Publishers, 2008), pp. 11–37.
4. Drucilla Cornell, “What Is Ethical Feminism?” in Feminist Contentions: A Philosophical Exchange, ed. Seyla Benhabib, et al. (New York: Routledge, 1995), pp. 76–106. I put ethical feminist in quotation marks because I have called myself an ethical feminist.
1. Dirty Harry. DVD, dir. Don Siegel, perf. Clint Eastwood (Warner Bros. Studios, 1971).
2. Krin Gabbard, “‘Someone Is Going to Pay’—Resurgent White Masculinity in Ransom,” in Masculinity: Bodies, Movies, Culture, ed. Peter Lehman (New York: Routledge, 2001), p. 9.
3. Play Misty for Me, DVD, dir. Clint Eastwood, perf. Clint Eastwood, Jessica Walter (Universal Studios, 1971).
4. Tightrope, DVD, dir. Richard Tuttle, perf. Clint Eastwood, Geneviève Bujold, prod. Clint Eastwood and Fritz Manes (Warner Bros. Studios, 1984).
5. A Perfect World, DVD, dir. Clint Eastwood, perf. Clint Eastwood, Kevin Costner, Laura Dern (Warner Bros. Studios, 1993).
6. Lee Clark Mitchell, Westerns: Making the Man in Fiction and Film (Chicago: University of Chicago Press, 1996), pp. 4–5.
7. Bronco Billy, DVD, dir. Clint Eastwood, perf. Clint Eastwood, Sondra Locke (Warner Bros. Studios, 1980).
8. Space Cowboys, DVD, dir. Clint Eastwood, perf. Clint Eastwood, Tommy Lee Jones, Donald Sutherland, James Garner, Marcia Gay Harden (Warner Bros. Studios, 2000).
1. High Plains Drifter, DVD, dir. Clint Eastwood, perf. Clint Eastwood (Universal Studios, 1973).
2. Lee Clark Mitchell, Westerns: Making the Man in Fiction and Film (Chicago: University of Chicago Press, 1996).
3. See Sue Grand, The Reproduction of Evil: A Clinical & Cultural Perspective (Hillsdale, N.J.: Analytic Press, 2000).
4. Mitchell, Westerns.
5. See especially the “Dollars Trilogy” featuring Clint Eastwood: A Fistful of Dollars (1964), For a Few Dollars More (1965), and The Good, the Bad and the Ugly (1966).
6. Grand, The Reproduction of Evil, p.8.
7. Ibid, p. 6. Italics in original.
8. Ibid., p. 5.
9. Ibid., p. 4–5.
10. Ibid., p. 6.
11. See Walter Benjamin, The Origin of German Tragic Drama (New York: Verso Press, 1998).
12. Grand, The Reproduction of Evil, p. 11.
13. Pale Rider, DVD, dir. Clint Eastwood, perf. Clint Eastwood (Warner Bros. Studios, 1985).
14. See preface in Michael Kimmel, Manhood in America: A Cultural History, 2nd ed. (New York: Oxford University Press, 2006).
15. In Culture of Masculinity Kimmel refers to three ideal types of American men, particularly in the sense that they engage the ideals of manhood for white men; they are the genteel patriarch, the heroic artisan, and the self-made man.
16. Shane, DVD, dir. George Stevens, perf. Alan Ladd, Jean Arthur, Van Heflin, Jack Palance (Paramount Pictures, 1953).
17. Unforgiven, dir. Clint Eastwood, perf. Clint Eastwood, Morgan Freeman, Gene Hackman (Warner Bros. Studios, 1992).
18. Kimmel, Manhood in America, p. 213.
19. Elizabeth Bronfen, Over Her Dead Body: Death, Femininity, and the Aesthetic (Manchester: Manchester University Press, 1992), p. 219.
20. Sue Grand, The Reproduction of Evil, p. 159; Krin Gabbard, “‘Someone Is Going to Pay’—Resurgent White Masculinity in Ransom,” in Masculinity: Bodies, Movies, Culture, ed. Peter Lehman (New York: Routledge, 2001), pp. 7–23, p. 9.
21. Sigmund Freud, “Mourning and Melancholia” in Collected Papers, vol. 4, Papers on Metapsychology (New York: Basic Books, 1954), p. 153.
22. Eastwood has used and transformed the all-too-familiar black sidekick that often mars the Western. As Michael Kimmel rightly notes, “By the mid-nineteenth century this new American male hero began to encounter another man, usually a man of color, as a sort of spirit guide to this world without women. . . . Literary critic Leslie Fiedler attributes this tradition on cross-race male bonding to a search for redemption for white guilt, but I believe it is also a way to present screens against which white manhood is projected, played out, and defined. The nonwhite stands in for women—as dependent child . . . male mother . . . spiritual guide and moral instructor . . . sometimes all at once. Their homoerotic passion is never the passion of equals; the nonwhite is either the guide and exemplar or the Rousseauian ‘noble savage’ who, in his childlike innocence, is more susceptible to the wiles of civilization” (Kimmel, pp. 44–45). But in Unforgiven, Logan is a full equal and friend to Munny, the hero, and this is just one of the many ways in which we see Eastwood working with a traditional figure using a traditional template of the genre, but only to make the character into something much more profound.
23. Michael Kimmel, Manhood in America, p. 213.
24. Dennis Bingham, Acting Male: Masculinities in the Films of James Stewart, Jack Nicholson, and Clint Eastwood (Piscataway, N.J.: Rutgers University Press, 1994), p. 164.
25. Ibid., p. 167.
26. Walter Benjamin, The Arcades Project, trans. Howard Eiland (Cambridge, Mass.: Belknap Press, 2002), p. 348.
27. Bingham, Acting Male, p. 236.
28. Chris Packard, Queer Cowboys and Other Erotic Male Friendships in Nineteenth-Century American Literature (New York: Palgrave Macmillan, 2005), p. 2.
1. Tightrope, DVD, dir. Richard Tuggle, perf. Clint Eastwood, Geneviève Bujold, prod. Clint Eastwood, Fritz Manes (Warner Bros. Studios, 1984).
2. Notably, this psychologist is played by an African American woman. In Eastwood’s later work especially, he tends to quietly resist stereotypical Hollywood racism, which rarely portrays African Americans in positions of power or authority, let alone positions in which white leading men seek them out for an educated opinion.
3. Dennis Bingham, Acting Male: Masculinities in the Films of James Stewart, Jack Nicholson, and Clint Eastwood (Piscataway, N.J.: Rutgers University Press, 1994), p. 216.
4. Jessica Benjamin, Like Subjects, Love Objects: Essays on Recognition and Sexual Difference (New Haven: Yale University Press, 1995), p. 178.
5. Ibid., p. 209.
6. Ibid., p. 196–97.
7. Jessica Benjamin, The Bonds of Love: Psychoanalysis, Feminism, and the Problem of Domination (New York: Pantheon, 1988).
8. Otto Rank, The Double: A Psychoanalytic Study (London: Karnac Books, 1989).
9. Dennis Bingham, Acting Male, p. 216.
10. Jessica Benjamin, “Beyond Doer and Done to: An Intersubjective View of Thirdness” in Psychoanalytic Quarterly, 73:5–46 (2004), p. 5.
11. In the Line of Fire, DVD, dir. Wolfgang Petersen, perf. Clint Eastwood, John Malkovich, Rene Russo (Sony Pictures, 1993).
12. Hannah Arendt, Eichmann in Jerusalem: A Report on the Banality of Evil (New York: Penguin, 1994).
13. Blood Work, DVD, dir. Clint Eastwood, perf. Clint Eastwood, Jeff Daniels, Wanda De Jesus (Warner Bros. Studios, 2002).
14. Anthony Easthope, What a Man’s Gotta Do: The Masculine Myth in Popular Culture (New York: Routledge, 1990), p. 53. The quote continues: “This brings out the question of how it is not to be observed. It is not to be looked at with the eye of desire. This is precisely the look the masculine body positively denies, as if it were saying, ‘whatever else—not that.’ The hardness and tension of the body strives to present it as wholly masculine, to exclude all curves and hollows and to be only straight lines and flat planes. It would really like to be a Cubist painting, or whatever, but above all not desirable to other men, because it is so definitely not soft and feminine. Not smooth bones and muscle, not flesh and blood. The masculine body seeks to be Rambo, not Rimbaud” (Easthope, p. 54).
15. Judith Butler, Gender Trouble: Feminism and the Subversion of Identity (New York: Routledge, 1990).
16. Jacques Derrida, Politics of Friendship (New York: Verso Books, 1997).
17. Sudden Impact, DVD, dir. Clint Eastwood, perf. Clint Eastwood, Sondra Locke, Pat Hingle, (Warner Bros. Studios, 1983).
18. See Immanuel Kant, The Metaphysics of Morals, trans. Mary J. Gregor (Cambridge: Cambridge University Press, 1993), §460–461, pp. 252–253.
19. Immanuel Kant, Religion within the Boundaries of Mere Reason and Other Writings, trans. Allen Wood (Cambridge: Cambridge University Press, 1999), pp. 635–44.
20. Martha C. Nussbaum, “Equity and Mercy,” Philosophy and Public Affairs, vol. 22, no. 2 (Spring 1993): pp. 83–125: 96.
21. See, for example, Thaddeus Metz, “Judging Because Understanding: A Defense for Retributive Censor” (Chapter 10, pp. 222–240).
22. Although it is, again, beyond the scope of this chapter, we will return to the debate between compatiblists and incompatiblists with respect to free will—that is, to the question of whether the notion of freedom can be naturalized in a way that is compatible with an assumption of causal (psychological) determinism, or whether we must retain a notion of freedom as a metaphysical capacity to defy natural causation in the pursuit of a moral purpose. See Drucilla Cornell, The Philosophy of the Limit (New York: Routledge, 1992) for an extended discussion of my own defense of incompatiblism as integral to understanding the limits of psychological determinism.
For a further discussion of the incompatiblist/compatiblist debate including a sustained critique of where compatiblism goes wrong in its assumptions about scientific knowledge as well as in its construction of moral obligation, see a forthcoming dissertation by Elric M. Kline, “Freedom’s Paradox: Hoping against Hope in a Freedom of the Will.”
23. Paul Smith, Eastwood: A Cultural Production (Minneapolis: University of Minnesota Press, 1993), p. 133.
24. The Gauntlet, DVD, dir. Clint Eastwood, perf. Clint Eastwood, Sondra Locke, (Warner Bros. Studios, 1977).
25. See Drucilla Cornell, Beyond Accommodation: Ethical Feminism, Deconstruction, and the Law (Lanham, Md.: Rowman & Littlefield, 1999).
1. The Bridges of Madison County, DVD, dir. Clint Eastwood, perf. Clint Eastwood, Meryl Streep (Warner Bros. Studios, 1995).
2. Breezy, DVD, dir. Clint Eastwood, perf. William Holden, Kay Lenz, Roger C. Carmel (Universal Studios, 1973).
3. Robert James Waller, The Bridges of Madison County (New York: Grand Central Publishing, 1992).
4. Something’s Gotta Give, DVD, dir. Nancy Meyers, perf. Jack Nicholson, Diane Keaton, Keanu Reeves, Frances McDormand (Sony Pictures, 2003).
5. Susan Bordo, The Male Body: A New Look at Men in Public and in Private (New York: Farrar, Strauss, and Giroux, 1999).
6. Although Benjamin has clearly borrowed a great deal from G.W.F. Hegel’s concept of recognition, her psychoanalytic work revises Hegel’s insight considerably in that she addresses how recognition (more specifically the third) denotes the possibility of a break from Oedipal complimentarity. See Hegel’s famous dialectic of recognition in The Phenomenology of Mind, Chapter 4. Simply put, the third for Hegel (aufgehoben) is found in legal marriage and/or the child produced by the couple. (See Hegel, The Philosophy of Right, the section on the family.) For a profound and amusing examination of Hegel’s stiff understanding of sexual difference as complementarity and his affirmation of the thirdness of marriage, see, generally, Jacques Derrida’s Glas. In Bridges, Robert Kincaid explicitly resists this stiff notion of family, rejecting the notion of ownership in marriage.
7. Bordo, The Male Body, p. 143.
8. Ibid., p. 143–44.
9. Kaja Silverman, “Masochism and Male Subjectivity,” Camera Obscura 17 (May 1988): 31–36.
10. See generally Jacques Lacan, The Four Fundamental Concepts: Book XI of the Seminars of Jacques Lacan (New York: Norton, 1998). For an excellent discussion of Lacan’s concept of the symbolic order, see Charles Shepherson, Vital Signs: Nature, Culture, Psychoanalysis (New York: Routledge, 2000), pp. 37–39, 62–69.
11. For a longer discussion, see Drucilla Cornell, Between Women and Generations: Legacies of Dignity (New York: Palgrave Macmillan, 2002), p. 209n52.
12. As I have argued elsewhere, Gurewich’s reinterpretation of the Oedipal myth provides a mental space in which to understand ourselves as ethical subjects of the law, so that we can and should call this law dignity. See Cornell, Between Women and Generations, p. 56–57.
1. See Jessica Benjamin, “Beyond Doer and Done To: An Intersubjective View of Thirdness,” Psychoanalytic Quarterly 73 (2004): 5–46. For another excellent discussion of the complex issues involved in trauma, see Trauma: Explorations in Memory, ed. Cathy Caruth (Baltimore: Johns Hopkins University Press, 1995).
2. A Perfect World, DVD, dir. Clint Eastwood, perf. Clint Eastwood, Kevin Costner, Laura Dern (Warner Bros. Studios, 1993).
3. Absolute Power, DVD, dir. Clint Eastwood, perf. Clint Eastwood, Gene Hackman, Ed Harris (Warner Bros. Studios, 1997).
4. For a much longer discussion of femininity as masquerade, see Drucilla Cornell, Beyond Accommodation: Ethical Feminism, Deconstruction, and the Law (Lanham, Md.: Rowman & Littlefield, 1999), pp.105–106.
5. Million Dollar Baby, DVD, dir. Clint Eastwood, perf. Clint Eastwood, Hilary Swank, Morgan Freeman, (Warner Bros. Studios, 2004).
6. F. X. Toole, Rope Burns: Stories from the Corner (New York: Ecco, 2001), p. 9.
7. Ibid., p. 12.
8. Samuel Menasche, “In the Ring,” in New and Selected Poems, ed. Christopher Ricks (New York: Library of America, 2005), p. 180.
9. Emmanuel Levinas, “Ethics and the Face” in Totality and Infinity: An Essay on Exteriority, trans. Alphonse Lingis (The Hague: Maritnus Nijhoff Publishers, 1981), pp. 194–220.
10. Menasche, “Grief,” in New and Selected Poems, p. 25, italics in original.
1. Mystic River, DVD, dir. Clint Eastwood, perf. Sean Penn, Tim Robbins (Warner Bros. Studios, 2004).
2. Karen Horney, “The Value of Vindictiveness,” American Journal of Psychoanalysis 8 (1948): 8.
3. Ibid.
4. Ibid., p.10.
5. William Ian Miller has rightly noted that the point of view of the avenger is usually the controlling one. See “Clint Eastwood and Equity: Popular Culture’s Theory of Revenge” in Law in the Domains of Culture, ed. Austin Sarat and Thomas R. Kearns (Ann Arbor: University of Michigan Press, 2000), p. 172.
6. Anthony Easthope, What a Man’s Gotta Do: The Masculine Myth in Popular Culture (New York: Routledge, 1990), p. 20.
7. Ibid., p. 84.
8. Miller, “Clint Eastwood and Equity,” 169.
9. Ibid., pp. 174–175. See Robert C. Post, “The Popular Image of the Lawyer,” California Law Review 75 (1987), pp. 379, 382. The law, represented by the bureaucratic and legalistic restrictions on prosecutors as well as by the odor of corruption, is seen as an impediment to justice. For an account of how Hollywood films portray the legalistic ethic of prosecutors as impediments to justice, see Roger Berkowitz, “The Accusers: Law, Justice and the Image of Prosecutors in Hollywood,” Griffith Law Review 13 (2005).
10. So pervasive is the need for vengeance to be justified that The Star Chamber (1983), one of the few classic films that break with tradition to show an act of vengeance gone bad, must abandon its avenging heroes once their errors are brought to light.
11. For an excellent discussion of revenge in Hollywood westerns, see Peter French, The Virtues of Vengeance (Lawrence: University of Kansas, 2001).
12. Something like this yearning for paternal security through limitless strength likely girds much of the support for President George W. Bush’s foreign policy as well as for the liberal welfare state. See also Carl Schmitt, Theodor Däublers “Nordlicht”: Drei Studien über die Elemente, den Geist und die Aktualität des Werkes (Berlin: Duncker & Humblot, 1991).
13. For the distinction between excuse and justification, see Chapter 10 in George P. Fletcher, Rethinking Criminal Law (New York: Oxford University Press, 2000). First published 1978 by Little, Brown.
14. French, The Virtues of Vengeance, p. 32.
15. Romans 12:19.
16. See Shai Lavi, “‘The Jews are Coming’: Vengeance and Revenge in Post-Nazi Europe,” Law, Culture, and the Humanities 1 (2005): 282–301.
17. Not every animal, Nietzsche writes, has the right or the capability to make good on its promises. See Friedrich Nietzsche, “Zur Genealogie der Moral” in Kritische Studienausgabe, eds. Giorgio Colli and Mazzino Montinari (München: Deutscher Taschenbuch Verlag GmbH, 1988), p. 291.
18. See Karl Shoemaker’s description of the vengeful nature of the French king Louis the Fat, in “Revenge as a ‘Medium Good’ in the Twelfth Century,” Law, Culture, and the Humanities 1 (2005): 333–58.
19. Percy Ernst Schramm, “‘Mythos’ des Königtums,” in Kaiser, Königtum, und Päpste, vol.1 (Stuttgart: Anton Hiersemann, 1968), 68ff.
20. Victor Ehrenberg, The Greek State (Oxford: Oxford University Press, 1960), pp. 66–67, 76.
21. Ernst Kantorowicz, The King’s Two Bodies (Princeton, N.J.: Princeton University Press, 1966). Similarly, Jean Bodin argues that all kings depend upon the claim that their power comes “not from the Pope, nor from the Archbishop of Rheims, nor from the people, but rather from God alone.” Jean Bodin, Les Six Livres de la Republique (cited in Giorgi Agamben, Homo Sacer, trans. by Daniel Heller-Roazen (Stanford, Calif.: Stanford University Press, 1998), pp. 101–2.
22. This is how Giorgio Agamben interprets Carl Schmitt’s thinking on sovereignty, by reducing sovereignty to a logical relation of indistinction. See Agamben, Homo Sacer, p. 28: “The exception is the structure of sovereignty.”
23. See generally Michel Foucault, “Politics and Reason,” in Lawrence D. Kritzman, Michel Foucault: Politics, Philosophy, Culture, Interviews and other Writings 1977–1984, trans. Alan Sheridan (New York: Routledge, 1998), 62ff.
24. Ibid., pp. 66–67.
25. See A. R. Johnson, “Hebrew Conceptions of Kingship,” in S. H. Hooke, Myth, Ritual, and Kingship: Essays on the Theory and Practice of Kingship in the Ancient Near East and in Israel (Oxford: Clarendon Press, 1958), pp. 207–8.
26. See Chapter 3 in Danielle Allen, The World of Prometheus: The Politics of Punishing in Democratic Athens (Princeton, N.J.: Princeton University Press, 2000).
27. Compare Philippe Nonet, “Antigone’s Law,” Law, Culture, and the Humanities 2 (2006): 314–35.
28. Compare our understanding of Devine’s fortitude grounded in a sense of finitude with Jennifer Culbert’s account of humble resolve in “Reprising Revenge,” Law, Culture, and the Humanities 1 (2005): 302–15.
29. Sigmund Freud, Three Essays on the Theory of Sexuality, trans. James Strachey (Basic Books, 2000).
30. Drucilla Cornell, At the Heart of Freedom (Princeton, N.J.: Princeton University Press, 1998), 8ff.
31. See Drucilla Cornell, The Imaginary Domain (New York, Routledge, 1995).
32. Sean’s effort to let Lauren be together with him in her difference from him can rightly be understood along the lines of Aristotle’s definition of friendship. For a fascinating effort to build a politics upon the Aristotelian ideal of friendship—i.e., of letting the friend be as different and yet the same—see Jill Frank, A Democracy of Distinction (Chicago: University of Chicago Press, 2004), 143ff. Against the humility of friendship stands the logic of sovereignty. The struggle for sovereignty, as Patchen Markell writes, is one that lurks in the modern ideology of identity and, specifically, masculine identity. Patchen Markell, Bound by Recognition (Princeton, N.J.: Princeton University Press, 2003), 113ff.
33. Jacques Lacan, “On Feminine Sexuality, The Limits of Love and Knowledge” in Jacques Alain-Miller, Seminar XX, Encore: On Feminine Sexuality, The Limits of Love and Knowledge, trans. B. Fink (New York: Norton, 1998). Although there is a great recent outpouring of literature on masculinity in film, much of it relies on Lacan both implicitly and explicitly. See, for example, East-hope, What a Man’s Gotta Do. See also Mary Ingram, Men: The Male Myth Exposed (New York: Arrow, 1984).
34. Markell, Bound by Recognition, p. 113.
1. The Outlaw Josey Wales, DVD, dir. Clint Eastwood, perf. Clint Eastwood, Chief Dan George, Sondra Locke (Warner Bros. Studios, 1976).
2. The Searchers, DVD, dir. John Ford, perf. John Wayne, Vera Miles (Warner Bros. Studios, 1956).
3. Firefox, DVD, dir. Clint Eastwood, perf. Clint Eastwood (Warner Bros. Studios, 1982).
4. Heartbreak Ridge, DVD, dir. Clint Eastwood, perf. Clint Eastwood, Marsha Mason, Everett McGill. (Warner Bros. Studios, 1986).
5. Flags of Our Fathers, DVD, dir. Clint Eastwood, perf. Ryan Phillippe, Jesse Bradford, Adam Beach. (Dreamworks Pictures, 2006).
6. Saving Private Ryan, DVD, dir. Steven Spielberg, perf. Tom Hanks, Tom Sizemore, Edward Burns (Dreamworks Pictures, 1998).
7. In reality, sole survivor policies serve primarily to prevent family members from serving in close proximity, such as on the same ship, so as to minimize the likelihood of family tragedies in which several family members perish in the same attack. Such regulations were drafted after the Sullivan brothers were all killed in the sinking of the USS Juneau during World War II. As for Sergeant Frederick Niland, no elite unit was sent to retrieve him from the front lines. Rather, he made his own way back to camp after parachuting off target, at which point he was informed of the death of his brothers and shipped back to the United States to complete his term of service without engaging in combat. It was later discovered that his brother Edward, presumed dead, was actually captive in a Japanese POW camp in Burma.
8. James Bradley, with Ron Powers, Flags of our Fathers (New York: Bantam Books, 2001), p. 322.
9. Letters from Iwo Jima, DVD, dir. Clint Eastwood, perf. Ken Watanabe, Kazunari Ninomiya, Tsuyoshi Ihara, Ryo Kase (Warner Bros. Studios, 2006).
10. Michael Kimmel, Manhood in America: A Cultural History, 2nd ed. (New York: Oxford University Press, 2006).
11. A Secret Burden: Memories of the Border War by South African Soldiers Who Fought In It, ed. Karen Batley (Johannesburg: Jonathan Ball Publishers, 2007), p. 97.
1. I can think of one other notable exception to this general Hollywood rule, and it makes for an interesting comparison with Million Dollar Baby. In The Shawshank Redemption (1994), Ellis Boyd “Red” Redding (Morgan Freeman) narrates the story of Andy Dufresne (Tim Robbins), a white accountant who was wrongly convicted of homicide but eventually escapes from Shawshank Prison. Interestingly, like Million Dollar Baby the film deals with issues of deep moral repair. Whereas the black man in Million Dollar Baby actually pushes the white male character down the path of his own redemption, in Shawshank the white man is innocent from the beginning while the black man is a confessed murderer who is inspired by the white man to give himself a second chance at life. While Shawshank should be rightly credited for portraying a positive African American narrator, Million Dollar Baby goes further by making Freeman’s character an important part of the moral heartbeat of the film. Shawshank concludes after Redding reads an inspiring letter from his friend Dufresne; in Million Dollar Baby it is Eddie Dupris who writes a heartfelt letter to Frankie Dunn’s daughter.
2. See in general Dennis Bingham, Acting Male: Masculinities in the Films of James Stewart, Jack Nicholson, and Clint Eastwood (Piscataway, N.J.: Rutgers University Press, 1994).
3. The Enforcer, DVD, dir. James Fargo, perf. Clint Eastwood, Tyne Daly (Warner Bros. Studios, 1976).
4. White Hunter Black Heart, DVD, dir. Clint Eastwood, perf. Clint Eastwood (Warner Bros. Studios, 1990).
5. True Crime, DVD, dir. Clint Eastwood, perf. Clint Eastwood, Isaiah Washington, James Woods (Warner Bros. Studios, 1999).
6. Paul Smith, Eastwood: A Cultural Production (Minneapolis: University of Minnesota Press, 1993), pp. 238–240.
7. Bird, DVD, dir. Clint Eastwood, perf. Forest Whitaker, Diane Venora, Michael Zelniker (Warner Bros. Studios, 1988).
8. Smith, Eastwood: A Cultural Production, pp. 235–36; Eugene Novikov, “Clint Eastwood Thinks Spike Lee Should Shut His Face,” Cinematical weblog, June 6, 2008, http://www.cinematical.com/2008/06/06/clint-eastwood-thinks-spike-lee-should-shut-his-face.
9. Toni Morrison, Jazz (New York: Penguin, 1993).
10. Studs Terkel, Giants of Jazz (New York: New Press, 2002), p. 172.
11. Ibid., p. 171.
1. See Chapter 3. Also see generally Jacques Lacan, The Four Fundamental Concepts: Book XI of the Seminars of Jacques Lacan (New York: Norton, 1998).
2. Njabulo S. Ndebele, “Learning to Give Up Certitudes: Vulnerability in Our Mutual Need” in Fine Lines from the Box: Further Thoughts About Our Country (Houghton: Umuzi, 2007), p. 221.