1. Milius cited in David D’Arcy, “Go Ahead, Pinko Liberals, Make My Day,” The Guardian, November 8, 2001, sec. Film, http://www.theguardian.com/film/2001/nov/08/artsfeatures.

2. Pauline Kael, 5001 Nights at the Movies (New York: Macmillan, 2011), 841.

3. Paul Schrader, “John Milius: Master of Flash,” Los Angeles Weekly News, August 17, 1973.

4. Some notable exceptions include Giulia D’Agnolo Vallan, John Milius (Torino: Torino Film Festival, 2002); Tag Gallagher, “John Milius,” Foco - Revista de Cinema Agosto-Setembro (2013), http://focorevistadecinema.com.br/FOCO5/miliustageng.htm; Toni D’Angela, “L’Anabasi Di John Milius,” Foco - Revista de Cinema Agosto-Setembro (2013), http://focorevistadecinema.com.br/FOCO5/anabasiit.htm.

5. Matthew Continetti, “Hollywood Barbarian,” Washington Free Beacon, 2014, http://freebeacon.com/columns/hollywood-barbarian/.

6. Richard Thompson, “Stoked,” Film Comment 12, no. 4 (1976): 10–21.

7. David James, The Most Typical Avant-Garde: History and Geography of Minor Cinemas in Los Angeles (Berkeley: University of California Press, 2005), 209.

8. Continetti, “Hollywood Barbarian.”

9. Milius cited in Fred Topel, “Exclusive Interview: John Milius on ‘Milius,’” CraveOnline, January 6, 2014, http://www.craveonline.com/site/625751-exclusive-interview-john-milius-on-milius.

10. Michael D. Dwyer, Back to the Fifties: Nostalgia, Hollywood Film, and Popular Music of the Seventies and Eighties (Oxford: Oxford University Press, 2015); Susan Jeffords, Hard Bodies : Hollywood Masculinity in the Reagan Era (New Brunswick, N.J: Rutgers University Press, 1994).

11. Jeffords, Hard Bodies; Douglas Kellner, “Film, Politics, and Ideology: Reflections on Hollywood Film in the Age of Reagan,” Velvet Light Trap, 1991, 9–25.

12. Julius Evola, Revolt Against the Modern World: Politics, Religion, and Social Order in the Kali Yuga (Rochester: Inner Traditions/Bear, 1995).

13. Milius cited in Allen White, “Joy in the Struggle: A Look at John Milius,” Film Threat, 2002, http://web.archive.org/web/20021107154534/http://www.filmthreat.com/

14. Michele Tetro, Conan il barbaro: l’epica di John Milius (Alessandria: Falsopiano, 2004).

15. Ibid., 66–67.

16. Richard Slotkin, Regeneration Through Violence (Middletown: Wesleyan University Press, 1973), 556.

17. United Press International, “‘RED DAWN’ CONDEMNED AS RIFE WITH VIOLENCE,” The New York Times, September 4, 1984, sec. Arts, http://www.nytimes.com/1984/09/04/arts/red-dawn-condemned

18. The initial plan had been to surround the cage with a moat full of alligators or to electrify the chain-link fence. Boxing Insider, “The Octagon, A Man Named Milius, and His Imprint on The UFC,” BoxingInsider.com, February 15, 2011, http://www.boxinginsider.com/mma/the-octagon-a-man-named-

19. Milius cited in Susan Compo, Warren Oates: A Wild Life (Lexington: University Press of Kentucky, 2009), 269.

20. Abhimanyu Das, “Everything You Never Knew About The Making of Conan The Barbarian,” io9, accessed March 15, 2016, http://io9.gizmodo.com/everything-you-never-knew-about-the-making-of-conan-the-1686337892.

21. Roger Ebert, “Conan the Barbarian Movie Review (1982),” 1982, http://www.rogerebert.com/reviews/conan-the-barbarian-1982.
[return to page 2]

22. Kellner, “Film, Politics, and Ideology.”

23. Ibid., 19.

24. Andrew Kopkind, “Red Dawn,” The Nation, September 15, 1984.

25. Ernst Nolte, Three Faces of Fascism: Action Française, Italian Fascism, National Socialism (New York: New American Library, 1969).

26. Milius cited in Thompson, “Stoked,” 19.

27. Milius cited in ibid., 15.

28. Milius cited in ibid., 19.

29. Kellner, “Film, Politics, and Ideology,” 20.

30. Topel, “Jon Milius on ‘Milius.’”

31. Milius cited in Bill Kauffman, “John Milius: A Real Wolverine,” The American Conservative, 2014, http://www.theamericanconservative.com/articles/john-milius-a-real-wolverine/.

32. Oswald Spengler, The Decline of the West, Vol. 1: Form and Actuality, trans. Charles Francis Atkinson (New York: Knopf, 1945).

33. Anne Friedberg, Window Shopping: Cinema and the Postmodern (Berkeley: University of California Press, 1993), 189.

34. Linda Hutcheon and Mario J. Valdés, “Irony, Nostalgia, and the Postmodern: A Dialogue,” Poligrafías. Revista de Teoría Literaria Y Literatura Comparada 0, no. 3 (2012), http://www.journals.unam.mx/index.php/poligrafias/article/view/31312.

35. Christine Sprengler, Screening Nostalgia: Populuxe Props and Technicolor Aesthetics in Contemporary American Film (New York: Berghahn Books, 2009), 72–73.

36. Milius cited in Ken Plume, “An Interview with John Milius,” IGN, 2003, http://www.ign.com/articles/2003/05/07/an-interview-with-john-milius.

37. Continetti, “Hollywood Barbarian.”

38. Kellner, “Film, Politics, and Ideology,” 20.

39. Tag Gallagher, “John Milius,” Foco - Revista de Cinema Agosto-Setembro (2013), http://focorevistadecinema.com.br/FOCO5/miliustageng.htm.

40. Schrader, “John Milius: Master of Flash.”

41. Milius cited in White, “Joy in the Struggle: A Look at John Milius.”

42. Milius cited in Schrader, “John Milius: Master of Flash.”

43. Milius cited in David Bordwell and Kristin Thompson, Film History: An Introduction, 2nd edition (Boston: McGraw Hill Higher Education, 2002), 572.

44. Kauffman, “John Milius.”

45. Plume, “An Interview with John Milius.”

46. Timothy Corrigan, A Cinema Without Walls: Movies and Culture after Vietnam, First Edition edition (New Brunswick, N.J: Rutgers University Press, 1991), 101.