1. Jean-Jacques Rousseau, Letter to D’Alembert, and Writings for the Theater, trans. Allan Bloom, Charles Butterworth, and Christopher Kelly (Lebanon, NH: University Press of New England), 269. [return to text]

2. Nikolaj Lübecker, The Feel-Bad Film (Edinburgh, UK: Edinburgh University Press, 2015), 162.

3. Ibid., 2.

4. Ibid., 167.

5. Ibid.

6. Ibid., 9.

7. Ibid., 12.

8. Ibid., 27.

9. Ibid., 23.

10. For a more thorough summary, a link to the wiki: https://en.wikipedia.org/wiki/Dogville.

Megan Boler, “The Risks of Empathy: Interrogating Multiculturalism’s Gaze,” Philosophy of Education Yearbook (1994), http://web.archive.org/web/20060224072305/http://www.ed.uiuc.edu/

12. Lübecker, The Feel-Bad Film, 171.

13. Lübecker, The Feel-Bad Film, 80. The reference is to Judith Butler, Giving an Account of Oneself (New York, NY: Fordham University Press, 2005).

14. Lübecker, The Feel-Bad Film, 81.

15. Ibid. The reference is to Judith Butler, Frames of War (London, UK: Verso, 2009).

16. Lübecker, The Feel-Bad Film, 69.

17. Rachel Donadio, “In ‘Son of Saul,’ Laszlo Nemes Expands the Language of Holocaust Films,” The New York Times, December, 134, 2015, http://www.nytimes.com/2015/12/15/movies/in-son-of-saul-laszlo-nemes-expands-the-language-of-holocaust-films.html?_r=0.

18. David Bordwell, “Classical Hollywood Cinema: Narrational Principles and Procedures” in Narrative, Apparatus, Ideology: A Film Theory Reader, ed. Philip Rosen (New York, NY: Columbia University Press, 1986), 22. [return to text]

19. Quandt quoted in Lübecker, The Feel-Bad Film, 122., reference to James Quandt, “Flesh and Blood: Sex and Violence in Recent French Cinema,” in The New Extremism in Cinema: From France to Europe, ed. Tanya Horeck and Tina Kendall (Edinburgh, UK: Edinburgh University Press, 2011), 25.

20. Quandt, “Flesh and Blood,” 25.

21. Lübecker, The Feel-Bad Film, 5.

22. Ibid.

23. Ibid., 12. The question is written exactly this way.