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While the gangster film may have enjoyed its heyday in the 1930s and ’40s, it has remained a movie staple for almost as long as cinema has existed. From the early films of Humphrey Bogart, James Cagney, and Edward G. Robinson to modern versions like Bugsy, Public Enemies, and Gangster Squad, such films capture the brutality of mobs and their leaders. In Gangsters and G-Men on Screen: Crime Cinema Then and Now, Gene D. Phillips revisits some of the most popular and iconic representations of the genre. While this volume offers new perspectives on some established classics—usual suspects like Little Caesar, Bonnie and Clyde, and The Godfather Part II—Phillips also calls attention to some of the unheralded but no less worthy films and filmmakers that represent the genre. Expanding the viewer’s notion of what constitutes a gangster film, Phillips offers such unusual choices as You Only Live Once, Key Largo, The Lady from Shanghai, and even the 1949 version of The Great Gatsby. Also included in this examination are more recent ventures, such as modern classics The Grifters and Martin Scorsese’s The Departed. In his analyses, Phillips draws on a number of sources, including personal interviews with directors and other artists and technicians associated with the films he discusses. Of interest to film historians and scholars, Gangsters and G-Men on Screen will also appeal to anyone who wants to better understand the films that represent an important contribution to crime cinema.
A companion to the study of the gangster film’s international appeal spanning the Americas, Europe, and Asia A Companion to the Gangster Film presents a comprehensive overview of the newest scholarship on the contemporary gangster film genre as a global phenomenon. While gangster films are one of America’s most popular genres, gangster movies appear in every film industry across the world. With contributions from an international panel of experts, A Companion to the Gangster Film explores the popularity of gangster films across three major continents, the Americas, Europe, and Asia. The authors acknowledge the gangster genre’s popularity and examine the reasons supporting its appeal to twenty-first century audiences across the globe. The book examines common themes across all three continents such as production histories and reception, gender race and sexuality, mafia mythologies, and politics. In addition, the companion clearly shows that no national cinema develops in isolation and that cinema is a truly global popular art form. This important guide to the gangster film genre: Reveals how the gangster film engages in complex and contradictory themes Examines the changing face of the gangster film in America Explores the ideas of gangsterism and migration in the Hispanic USA, Latin America and the Caribbean Discusses the wide variety of gangster types to appear in European cinema Contains a review of a wide-range of gangster films from the Americans, Europe, and Asia Written for academics and students of film, A Companion to the Gangster Film offers a scholarly and authoritative guide exploring the various aspects and international appeal of the gangster film genre.
This authoritative collection of introductory and specialized readings explores the rich and innovative history of this period in American cinema. Spanning an essential range of subjects from the early 1900s Nickelodeon to the decline of the studio system in the 1960s, it combines a broad historical context with careful readings of individual films. Charts the rise of film in early twentieth-century America from its origins to 1960, exploring mainstream trends and developments, along with topics often relegated to the margins of standard film histories Covers diverse issues ranging from silent film and its iconic figures such as Charlie Chaplin, to the coming of sound and the rise of film genres, studio moguls, and, later, the Production Code and Cold War Blacklist Designed with both students and scholars in mind: each section opens with an historical overview and includes chapters that provide close, careful readings of individual films clustered around specific topics Accessibly structured by historical period, offering valuable cultural, social, and political contexts Contains careful, close analysis of key filmmakers and films from the era including D.W. Griffith, Charles Chaplin, Buster Keaton, Erich von Stroheim, Cecil B. DeMille, Don Juan, The Jazz Singer, I Am a Fugitive from a Chain Gang, Scarface, Red Dust, Glorifying the American Girl, Meet Me in St. Louis, Citizen Kane, Bambi, Frank Capra's Why We Fightseries, The Strange Love of Martha Ivers, Rebel Without a Cause, Force of Evil, and selected American avant-garde and underground films, among many others. Additional online resources such as sample syllabi, which include suggested readings and filmographies for both general specialized courses, will be available online. May be used alongside American Film History: Selected Readings, 1960 to the Present, to provide an authoritative study of American cinema through the new millennium
The mafia has always fascinated filmmakers and television producers. Al Capone, Salvatore Giuliano, Lucky Luciano, Ciro Di Marzio, Roberto Saviano, Don Vito and Michael Corleone, and Tony Soprano are some of the historical and fictional figures that contribute to the myth of the Italian and Italian-American mafias perpetuated onscreen. This collection looks at mafia movies and television over time and across cultures, from the early classics to the Godfather trilogy and contemporary Italian films and television series. The only comprehensive collection of its type, Mafia Movies treats over fifty films and TV shows created since 1906, while introducing Italian and Italian-American mafia history and culture. The second edition includes new original essays on essential films and TV shows that have emerged since the publication of the first edition, such as Boardwalk Empire and Mob Wives, as well as a new roundtable section on Italy's "other" mafias in film and television, written as a collaborative essay by more than ten scholars. The edition also introduces a new section called "Double Takes" that elaborates on some of the most popular mafia films and TV shows (e.g. The Godfather and The Sopranos) organized around themes such as adaptation, gender and politics, urban spaces, and performance and stardom.
Examines the interplay between the aesthetics and the censorship of violence in classic Hollywood films from 1930 to 1968, the era of the Production Code, when filmmakers were required to have their scripts approved before they could start production. A stylistic history of American screen violence that is grounded in industry documentation. [back cover].
Fully revised, updated, and extended, the fifth edition of Hollywood’s America provides an important compilation of interpretive essays and primary documents that allows students to read films as cultural artifacts within the contexts of actual past events. A new edition of this classic textbook, which ties movies into the broader narrative of US and film history This fifth edition contains nine new chapters, with a greater overall emphasis on recent film history, and new primary source documents which are unavailable online Entries range from the first experiments with motion pictures all the way to the present day Well-organized within a chronological framework with thematic treatments to provide a valuable resource for students of the history of American film
Much analysis of gangster movies has been based upon a study of the gangster as a malign figuration of the American Dream, originally set in the era of the Depression. This text extends previous analysis of the genre by examining the evolution of gangster movies from the 1930s to the contemporary period and by placing them in the context of cultural and cinematic issues such as masculinity, consumerism and technology. With a close examination of many films from Scarface and Public Enemy to Reservoir Dogs and Pulp Fiction , this book provides a fascinating insight into a topical and popular subject.
The Oxford History of World Cinema is the most authoritative, up-to-date history of the Cinema ever undertaken. It traces the history of the twentieth-century's most enduringly popular entertainment form, covering all aspects of its development, stars, studios, and cultural impact. The book celebrates and chronicles over one hundred years of diverse achievement from westerns to the New Wave, from animation to the Avant-Garde, and from Hollywood to Hong Kong, with an international team of distinguished film historians telling the story of the major inventions and developments in the cinema business, its institutions, genres, and personnel. Other chapters outline the evolution of national cinemas round the world - the varied and distinctive filmic traditions that have developed alongside Hollywood. Also included are over 140 special inset features on the film-makers and personalities - Garbo and Godard, Keaton and Kurosawa, Bugs Bunny and Bergman - who have had an enduring impact in popular memory and cinematic lore. With over 300 illustrations, a full bibliography, and an extensive index, The Oxford History of World Cinema is an invaluable and entertaining guide and resource for the student and general reader.
This "latest episode in the Bob Lee Swagger saga ... finds Bob uncovering his family's secret Tommy gun war with 1930s gangsters like John Dillinger and Baby Face Nelson"--Amazon.com.
Now in paperback, the Pulitzer Prize-winning biography of J Edgar Hoover deemed "Masterful…an enduring, formidable accomplishment, a monument to the power of biography [that] now becomes the definitive work”by The Washington Post (and everywhere else) "Revelatory...an acknowledgment of the complexities that made Hoover who he was, while charging the turbulent currents that eventually swept him aside."—The New York Times G-Man is the groundbreaking portrait of a colossus who dominated half a century of American history and planted the seeds for much of today’s conservative political landscape. Hoover transformed a scandal-riddled law-enforcement backwater, into a modern machine—one just as oppressive as it was promising. He rose to power and then stayed there, decade after decade, using the tools of the state to create a personal fiefdom unrivaled in U.S. history. Beverly Gage’s monumental work explores the full sweep of Hoover’s life and career, from his birth in 1895 to a modest Washington civil-service family to a strongarm for white supremacists and the politicized Christian right, serving eight presidents. G-Man places Hoover back where he once stood in American political history--not at the fringes, but at the center--and uses his story to explain the trajectories of governance, policing, race, ideology, political culture, and federal power as they evolved over the course of the 20th century. “[A] crisply written, prodigiously researched, and frequently astonishing new biography”—The New Yorker “Gage’s penetrating account of Hoover’s career, especially his many long-eclipsed triumphs, offers a well-timed and sobering perspective as yet another institution in our fractured country struggles to maintain trust.” -The Atlantic “Gage’s triumph is her deft navigation through Hoover’s 'deep state,' while reminding us of the abuse of power that remains his enduring legacy.”—The Boston Globe