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3llustrated throughout with movie stills, a diverse selection of films, genres, cities and historical periods are examined by leading names in the field to offer an innovative insight into the interconnection of city and screenscapes.
Mob Culture offers a long-awaited, fresh look at the American gangster film, exposing its hidden histories from the Black Hand gangs of the early twentieth century to The Sopranos. Departing from traditional approaches that have typically focused on the "nature" of the gangster, the editors have collected essays that engage the larger question of how the meaning of criminality has changed over time. Grouped into three thematic sections, the essays examine gangster films through the lens of social, gender, and racial/ethnic issues.
City schools, especially those attended by working class and ethnic minority pupils are teh catalysts of many significant issues in educational debate and policy making. They bring into sharp focus questions to do with class, gender and race relations in education; concepts of equality of opportunity and of social justice; and controversies about the wider political economic and social context of mass schooling. America, Western Europe and Australia have all taken a keen interest in the problems of urban schooling. The contributors to this collection of original essays all share a concern about these problems, although they approach them from a wide range of theoretical and ideological positions. Gerald Grace and his contributors criticis the current limitations of urban education as a field of study and they present a foundation for a more historically located and critically informed inquiry into problems, conflicts and contradictions in urban schooling. Part I presents contributions on theories of the urban. Part II focuses upon the history of urban education both in Britain and the USA. Part III discusses contemporary policy and practice with essays relating to education in inner city London and in New York City. This book was first published in 1984.
This is investigative reporter Gus Russo's most explosive book yet, the remarkable story of the "Supermob"-a cadre of men who, over the course of decades, secretly influenced nearly every aspect of American society. Presenting startling revelations about such famous members as Jules Stein, Joe Glaser, Ronald Reagan, Lew Wasserman, and John Jacob Factor-as well as infamous, low-profile members-Russo pulls the lid off of a half-century of criminal infiltration into American business, politics, and society. At the heart of it all is Sidney "The Fixer" Korshak, who from the 1940s until his death in the 1990s was not only the most powerful lawyer in the world, according to the FBI, but the enigmatic player behind countless twentieth-century power mergers, political deals, and organized crime chicaneries.
Author note: Ronald C. White, Jr. is Chaplain and Assistant Professor of Religion at Whitworth College in Spokane, Washington. >P>C. Howard Hopkins is Professor of History Emeritus at Rider College and Director of the John R. Mott Biography Project. He is the author of The Rise of the Social Gospel in American Protestantism.
Film noir is more than a cinematic genre. It is an essential aspect of American culture. Along with the cowboy of the Wild West, the denizen of the film noir city is at the very center of our mythological iconography. Described as the style of an anxious victor, film noir began during the post-war period, a strange time of hope and optimism mixed with fear and even paranoia. The shadow of this rich and powerful cinematic style can now be seen in virtually every artistic medium. The spectacular success of recent neo-film noirs is only the tip of an iceberg. In the dead-on, nocturnal jazz of Charlie Parker and Miles Davis, the chilled urban landscapes of Edward Hopper, and postwar literary fiction from Nelson Algren and William S. Burroughs to pulp masters like Horace McCoy, we find an unsettling recognition of the dark hollowness beneath the surface of the American Dream. Acclaimed novelist and poet Nicholas Christopher explores the cultural identity of film noir in a seamless, elegant, and enchanting work of literary prose. Examining virtually the entire catalogue of film noir, Christopher identifies the central motif as the urban labyrinth, a place infested with psychosis, anxiety, and existential dread in which the noir hero embarks on a dangerously illuminating quest. With acute sensitivity, he shows how technical devices such as lighting, voice over, and editing tempo are deployed to create the film noir world. Somewhere in the Night guides us through the architecture of this imaginary world, be it shot in New York or Los Angeles, relating its elements to the ancient cultural archetypes that prefigure it. Finally, Christopher builds an explanation of why film noir not only lives on but is currently enjoying a renaissance. Somewhere in the Night can be appreciated as a lucid introduction to a fundamental style of American culture, and also as a guide to film noir's heyday. Ultimately, though, as the work of a bold talent adeptly manipulating poetic cadence and metaphor, it is itself a superb aesthetic artifact.
In the 1950s, the gangster movie and film noir crisscrossed to create gangster noir. Robert Miklitsch takes readers into this fascinating subgenre of films focused on crime syndicates, crooked cops, and capers. With the Senate's organized crime hearings and the brighter-than-bright myth of the American Dream as a backdrop, Miklitsch examines the style and history, and the production and cultural politics, of classic pictures from The Big Heat and The Asphalt Jungle to lesser-known gems like 711 Ocean Drive and post-Fifties movies like Ocean’s Eleven. Miklitsch pays particular attention to trademark leitmotifs including the individual versus the collective, the family as a locus of dissension and rapport, the real-world roots of the heist picture, and the syndicate as an octopus with its tentacles deep into law enforcement, corporate America, and government. If the memes of gangster noir remain prototypically dark, the look of the films becomes lighter and flatter, reflecting the influence of television and the realization that, under the cover of respectability, crime had moved from the underworld into the mainstream of contemporary everyday life.
Captive Nation: Black Prison Organizing in the Civil Rights Era