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24.
See Elchardus, M. (ed.) (1998) Wantrouwen en onbehagen: over de vertrouwens- en legitimiteitscrisis {Distrust and
2
Discomfort: on the Crisis of Trust and Legitimacy}. Brussels: V U B Press; Eliaerts, C. (ed.) (1997) Kritische reflecties
omtrent de zaak Dutroux [Critical Reflections on the Dutroux Case]. Brussels: V U B Press.
3 See Mathijs, E. (2004) 'Les lèvres rouges/Daughters of Darkness', in Mathijs, E. (ed.) The Cinema of the Low Countries.
London: Wallflower Press, 97-108.
4 In Temmerman, J. (1998) 'Een dode goudvis met bananensmaak (A Dead Gold Fish with Banana Flavour)',
De
Morgen (23 Octobet).
5 De Coninck, R. (1998) 'We wonen blijkbaar in het gtappigste land ter wereld [Apparently we Live in the Funniest
Country in the World]', Gazet van Antwerpen, 21 October.
6 Didden, M. (1998) Flanders Image Press kit for S. Brussels: Europartners Film Cooperation.
7 Reviews in De Standaard, De Financieel Economisch Tijd, De Morgen, Het Belang van Limburg, Knack and Film
& Televisie show a similar use of language.
8 Harvey, D. (1999) 'S.', Variety, 28 June.
9 See: http://www.hollywood.com/movies/detail/movie/163563. Accessed 25 March 2003.
10 Anon. (1998) 'Interview with Guido Hendetickx', HUMO, 14 October.
11 Kristeva, J. (1980) Les pouvoirs de l'horreur. Paris: Seuil. For a specific discussion of Kristeva's concept of abjection,
see: Mathijs, E. (1999) 'Cultuur en het beest: het zondebokmechanisme en de filosofie van horror', in Baars, J. &
Starmans, R. (eds) Het eigene en het andere [Our Own and The Other]. Delft: Eburon, 215-26.
12 Mulvey, L. (1975) 'Visual Pleasure and Narrative Cinema', Screen, 16, 3.
13 Lafond, F. (2003) 'The Life and Crimes of Ben; or, when a Serial Killer meets a Film Crew in Man Bites Dog, Post
Script, 22, 2, 84-93; Lafond, F. (2004) ' C'est arrivé pris de chez vousIMan Bites Dog, in Mathijs, E. (ed.) The Cinema
of the Low Countries. London: Wallflower Press, 215-21.
14 James, N. (2003) 'Murder in Mind', Sight and Sound, 13, 4, 24-6; Goodfellow, M. (2003) 'Liège Standards', Sight
and Sound, 13, 4, 26.
CHAPTER 6

1 Lev, P. (2000) American Films of the 70s: Conflicting Visions. Austin: University of Texas Press.
2 Ibid.
3 Ibid.
4 Kael, P. (1996) 'Dirty Harry Saint Cop', in For Keeps: 30 Years at the Movies. New York: Plume/Penguin, 418-21.
5 Drake, R. (1998) 'Mythmaking and the Aldo Moro Case', The New Criterion, http://www.newcriterion.com/
archive/171 nov98/drake.htm.
6 Ibid.
7 Ibid.
8 Ibid.
9 Jamieson, A. (2000) 'Mafiosi and Terrorists: Italian Women in Violent Organizations', in SAIS Review. Baltimore:
Johns Hopkins University Press, 51-64.
10 Blumenstock, P. (1998) 'Men Before Their Time', liner notes - Beretta 70: Roaring Themes from Thrilling Italian
Police Films 1971-1980.
11 Reid, D. (2001) 'The Historian and the Judges', Radical History Review, 135-48.
12 Godson, R. (1999) 'Crime, Corruption and Society', The Journal, 3, 3.
13 Ibid.

CHAPTER 7

1 Gorky, A. M. (1896) 'Beglye zametki [Fleeting Notes]', Nizhegorodskii listok [The Nizhni Novgorod Newsletter],lS2,
4 July, 3, cited in Taylor, R. and Christie, I. (eds) (1988) The Film Factory: Russian and Soviet Cinema in Documents
1896-1939. London: Routledge, 25.
2 Bowie, M. (1991) Lacan. Glasgow: Fontana Press, 162.

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