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| | Umberto Eco Afterword |
 | | In her case the power in question is necromancy, that is,communication with the deadófor instance, with the dead Absalon, to whom Anne is talkmg at the end ofthe film. |
 | | Any similarity to actual persons, living or dead, is purely coincidental." Raging Bull has the formula at itís end, even though its subject, Jake La Motta, is listed as a consultant and the film is remarkable in its evocation of the boxing milieu and the constraints of manliness in ItaloAmerican families of the 1950s. |
 | | I cite this landmark decision not so much to chide the producer for inventing a seduction, although he seems in fact to have done so, but to underscore what the filmmakers had to say about the truth status of their creation. |
| www.stanford.edu /dept/HPS/HistoryWired/Davis/DavisAuthenticity.html (6627 words) |
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