American Gangster Cinema: From 'Little Caesar' to 'Pulp by F. Mason

By F. Mason

A lot research of gangster video clips has been established upon a research of the gangster as a malign figuration of the yank Dream, initially set within the period of the melancholy. this article extends past research of the style by way of analyzing the evolution of gangster videos from the Thirties to the modern interval and by means of putting them within the context of cultural and cinematic concerns comparable to masculinity, consumerism, and know-how. With a detailed exam of many movies from Scarface an Public Enemy to Reservoir canines and Pulp Fiction, this booklet presents a desirable perception right into a topical and renowned topic.

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Extra resources for American Gangster Cinema: From 'Little Caesar' to 'Pulp Fiction'

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Tony has transgressed in two ways and threatened the stability of two power structures: the internal power structure of the gang and the spatial power structures of territory. In one act Tony has expressed his unlimited desire for more: more power, more violence, more territory. Tony's expansiveness is juxtaposed in the gang war with Gaffney's restrictedness. Although Gaffney is the first to use Tommy guns, he is fighting from a defensive position and this is indicated when he is first introduced.

Com - licensed to Universitetsbiblioteket i Tromso - PalgraveConnect - 2011-03-15 14 American Gangster Cinema modernity detailed above. The gangster movie is located in a city of the industrial and technological, where traditional morality has become lax or non-existent, where the pleasure-principle and an easier enactment of sexuality and desire are possible (as represented by the night club and the speakeasy), where rationalisation and routinisation are dominant motifs (in the systematisation of gang life into corporate structures and the routinisation of violence), and where commodities, consumerism and money form the desiring network in which the gangster locates himself.

In effect, the Hays Office tried to insert its own sense of traditional values into the film as a way of policing culture and denying the freedoms, of consumption for example, made available by modernity. In effect, what the Hays Office were concerned about was the gangster film's representational flexibility in its consideration of modernity. The gangster film dealt with the excesses that modern culture made possible, particularly in the realist mode of the early cycle which presented a problematic representation of the gangster world.

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