Ackroyd, Peter. “All the Rage.” Spectator, 28 February 1981, 26Google Scholar

Barton, Carlin A. “The Scandal of the Arena.” Representations 27 (1989): 1–36CrossRefGoogle Scholar

Blake, Richard A. “Redeemed in Blood: The Sacramental Universe of Martin Scorsese.” Journal of Popular Film and Television 24 (1996): 2–9CrossRefGoogle Scholar

Boyum, Joy Gould. “A Work of Power and Distinction.” Wall Street Journal, 28 November 1980, 11Google Scholar

Brunette, Peter, ed. Martin Scorsese: Interviews. Jackson: University Press of Mississippi, 1999

Coleman, John. “Box and Cocks.” New Statesman, 20 February 1981, 23Google Scholar

Cook, Pam. “Masculinity in Crisis?: Pam Cook on Tragedy and Identification in Raging Bull.” Screen 23 (1982): 39–46CrossRefGoogle Scholar

Dickstein, Morris. “Self-Tormentors.” Partisan Review 64 (1994): 658–664Google Scholar

Friedman, Lawrence S. The Cinema of Martin Scorsese. New York: Continuum, 1998

Girgus, Sam B. America on Film: Modernism, Documentary, and a Changing America. New York: Cambridge University Press, 2002

Grindon, Leger. “Body and Soul: The Structure of Meaning in the Boxing Film Genre.” Cinema Journal 35 (1996): 54–69CrossRefGoogle Scholar

Halberstam, Judith. Female Masculinity. Durham: Duke University Press, 1998

Hemmeter, Gail Garnicelli, and Hemmeter, Thomas. “The Word Made Flesh: Language in Raging Bull.” Literature/Film Quarterly 14 (1986): 101–105Google Scholar

Johnson, Carol Siri. “Constructing Machismo in Mean Streets and Raging Bull.” Perspectives on Raging Bull, ed. Steven G. Kellman. New York: G. K. Hall, 1994, 96–106

Kael, Pauline. “Religious Pulp, or The Incredible Hulk.” New Yorker, 8 December 1980, 217–225

Kellman, Steven G., ed. Perspectives on Raging Bull. New York: G. K. Hall, 1994

Keyser, Lester J. Martin Scorsese. New York: Twayne, 1992

La Motta, Jake, Joseph Carter, and Peter Savage. Raging Bull. 1970. Reprinted. New York: Bantam, 1980

Leed, Barry H. “Scorsese vs. Mailer: Boxing as Redemption in Raging Bull and An American Dream.” Perspectives on Raging Bull, ed. Steven G. Kellman. New York: G. K. Hall, 1994, 131–135

Librach, Ronald S. “The Last Temptation in Mean Streets and Raging Bull.” Literature/Film Quarterly 20 (1992): 14–24Google Scholar

Malcolm, Derek. “The Punch in Scorsese's Ring Cycle.” Guardian, 14 February 1981, 10Google Scholar

Mortimer, Barbara. “Portraits of the Postmodern Person in Taxi Driver, Raging Bull, and The King of Comedy.” Journal of Film and Video 49 (1997): 28–38Google Scholar

Nicholls, Mark. “Something For the Man Who Has Everything: Melancholia and the Films of Martin Scorsese.” Playing the Man: New Approaches to Masculinity, eds. Dave Trudinger, Katherine Biber, and Tom Sear. Annandale, Australia: Pluto Press, 1999, 39–51, 215–216

Nicholls, Mark. Scorsese's Men: Melancholia and the Mob. Annandale, Australia: Pluto Press, 2004

O'Toole, Lawrence. “Going the Distance, and Much, Much Farther.” Maclean's, 1 December 1980, p. 73

Ringel, Eleanor. “Raging Bull Goes the Distance in Spite of Itself.” Atlanta Constitution, 20 February 1981, 3BGoogle Scholar

Thompson, David, and Ian Christie, eds. Scorsese on Scorsese. London: Faber and Faber, 1989

Tomasulo, Frank P. “Raging Bully: Postmodern Violence and Masculinity in Raging Bull.” Mythologies of Violence in Postmodern Media, ed. Christopher Sharrett. Detroit: Wayne State University Press, 1999, 175–197

Westerbeck, Colin L., Jr. “Shadowboxing: A Fighter's Stance toward Life.” Commonweal, 16 January 1981, pp. 20–21

Weiss, Marion W. “Linguistic Coding in the Films of Martin Scorsese.” Semiotica 55 (1985): 185–194CrossRefGoogle Scholar

Ackroyd, Peter. “All the Rage.” Spectator, 28 February 1981, 26Google Scholar

Barton, Carlin A. “The Scandal of the Arena.” Representations 27 (1989): 1–36CrossRefGoogle Scholar

Blake, Richard A. “Redeemed in Blood: The Sacramental Universe of Martin Scorsese.” Journal of Popular Film and Television 24 (1996): 2–9CrossRefGoogle Scholar

Boyum, Joy Gould. “A Work of Power and Distinction.” Wall Street Journal, 28 November 1980, 11Google Scholar

Brunette, Peter, ed. Martin Scorsese: Interviews. Jackson: University Press of Mississippi, 1999

Coleman, John. “Box and Cocks.” New Statesman, 20 February 1981, 23Google Scholar

Cook, Pam. “Masculinity in Crisis?: Pam Cook on Tragedy and Identification in Raging Bull.” Screen 23 (1982): 39–46CrossRefGoogle Scholar

Dickstein, Morris. “Self-Tormentors.” Partisan Review 64 (1994): 658–664Google Scholar

Friedman, Lawrence S. The Cinema of Martin Scorsese. New York: Continuum, 1998

Girgus, Sam B. America on Film: Modernism, Documentary, and a Changing America. New York: Cambridge University Press, 2002

Grindon, Leger. “Body and Soul: The Structure of Meaning in the Boxing Film Genre.” Cinema Journal 35 (1996): 54–69CrossRefGoogle Scholar

Halberstam, Judith. Female Masculinity. Durham: Duke University Press, 1998

Hemmeter, Gail Garnicelli, and Hemmeter, Thomas. “The Word Made Flesh: Language in Raging Bull.” Literature/Film Quarterly 14 (1986): 101–105Google Scholar

Johnson, Carol Siri. “Constructing Machismo in Mean Streets and Raging Bull.” Perspectives on Raging Bull, ed. Steven G. Kellman. New York: G. K. Hall, 1994, 96–106

Kael, Pauline. “Religious Pulp, or The Incredible Hulk.” New Yorker, 8 December 1980, 217–225

Kellman, Steven G., ed. Perspectives on Raging Bull. New York: G. K. Hall, 1994

Keyser, Lester J. Martin Scorsese. New York: Twayne, 1992

La Motta, Jake, Joseph Carter, and Peter Savage. Raging Bull. 1970. Reprinted. New York: Bantam, 1980

Leed, Barry H. “Scorsese vs. Mailer: Boxing as Redemption in Raging Bull and An American Dream.” Perspectives on Raging Bull, ed. Steven G. Kellman. New York: G. K. Hall, 1994, 131–135

Librach, Ronald S. “The Last Temptation in Mean Streets and Raging Bull.” Literature/Film Quarterly 20 (1992): 14–24Google Scholar

Malcolm, Derek. “The Punch in Scorsese's Ring Cycle.” Guardian, 14 February 1981, 10Google Scholar

Mortimer, Barbara. “Portraits of the Postmodern Person in Taxi Driver, Raging Bull, and The King of Comedy.” Journal of Film and Video 49 (1997): 28–38Google Scholar

Nicholls, Mark. “Something For the Man Who Has Everything: Melancholia and the Films of Martin Scorsese.” Playing the Man: New Approaches to Masculinity, eds. Dave Trudinger, Katherine Biber, and Tom Sear. Annandale, Australia: Pluto Press, 1999, 39–51, 215–216

Nicholls, Mark. Scorsese's Men: Melancholia and the Mob. Annandale, Australia: Pluto Press, 2004

O'Toole, Lawrence. “Going the Distance, and Much, Much Farther.” Maclean's, 1 December 1980, p. 73

Ringel, Eleanor. “Raging Bull Goes the Distance in Spite of Itself.” Atlanta Constitution, 20 February 1981, 3BGoogle Scholar

Thompson, David, and Ian Christie, eds. Scorsese on Scorsese. London: Faber and Faber, 1989

Tomasulo, Frank P. “Raging Bully: Postmodern Violence and Masculinity in Raging Bull.” Mythologies of Violence in Postmodern Media, ed. Christopher Sharrett. Detroit: Wayne State University Press, 1999, 175–197

Westerbeck, Colin L., Jr. “Shadowboxing: A Fighter's Stance toward Life.” Commonweal, 16 January 1981, pp. 20–21

Weiss, Marion W. “Linguistic Coding in the Films of Martin Scorsese.” Semiotica 55 (1985): 185–194CrossRefGoogle Scholar