7 Jean Arthur was born Gladys Georgianna Greene, and her screen name, a quixotic
combination of Jeanne d'Arc and King Arthur, itself evokes the Surrealist tendency of
juxtaposing unrelated elements.

8 Of course, such a solution would always appear in excess, "a solution certainly
rigorously fitting and yet somehow in excess of the need" (Mad Love 13).

9 In "Surrealism," Benjamin refers to Nadja as a "book with a banging door" (228),
which serves as an appropriate metaphor for the aural reverberations in the text.

10 I do not mean to suggest that coincidences had no place in Classic Hollywood. Indeed,
coincidence was used as a key plot device in the era's greatest films. After all, "of all the
gin joints in all the towns in all the world," Ilsa Laszlo would not have walked into Rick's
Cafe in Casablanca (1942) had it not been for chance. But the industry itself, whose
organization was predicated not on sudden parallels but on predictable standards, seemed
to discredit the value of coincidence.

11 Wohlfarth's essay provides an exhaustive analysis of the figure of the ragpicker and his
relation to other materialist historian figures, like the collector and the poet, in
Benjamin's work.

12 Following Benjamin, Wohlfarth suggests, "Not merely 'culture' and 'cultural history,'
perhaps even cultural criticism, metaprattle, has to go" (156).

13 Tristan Tzara made a similar gesture of gratitude when he adopted another symbolic
date in 1921. Although his date of arrival in Paris from New York was July 22, he would
forever tell everyone that he arrived on July 14, Bastille Day.

14 Sturges's adaptation is actually a rewriting, thus proving Andre Bazin's point that
"most of the films that are based on novels merely usurp their titles" (22).

15 The American film industry grew quite rapidly. By 1920, Hollywood was producing
over 800 films a year, which accounted for almost 80% of movies produced around the
world.

16 Considering that he is most often remembered as a "woman's director," it is
noteworthy that one of Leisen's first acquaintances in Hollywood was Lois Weber, the
only female director at the time.

17 The exchange between Macpherson and Leisen is quoted in David Chierichetti's
MitchellLeisen. Chierichetti offers an interesting perspective on Leisen's films through a
series of interviews with the director and his closest associates.

18 The appropriation of mannequins into Surrealist imagery was anticipated as early as
1919 by Man Ray, whose Aviary displays a figure that is part armless mannequin, part
bird cage, to suggest the constraints of the body.