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Journal articles on the topic 'Crime films – United States – History and criticism'

Author: Grafiati

Published: 25 July 2024

Last updated: 31 July 2025

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1

Riabov, Oleg. "Gendering the American Enemy in Early Cold War Soviet Films (1946–1953)." Journal of Cold War Studies 19, no. 1 (2017): 193–219. http://dx.doi.org/10.1162/jcws_a_00722.

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Analyzing Soviet films and film criticism from the late Stalin period, this article shows how Soviet cinematographers exploited gender discourse to produce Otherness. Cinematic representations of U.S. femininity, masculinity, love, sexuality, and marriage played an important role in constructing external and internal Enemies. Cinematography depicted the U.S. gender order as resulting from the unnatural social system in the United States and as contrary to both the Soviet order and human nature. In line with the notion of “two different Americas,” the films also created images of “good American

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Gough, Charlotte. "Another man’s memories: Masculine trauma and Satanic Panic in The Believers (1987) and Angel Heart (1987)." Horror Studies 13, no. 2 (2022): 193–208. http://dx.doi.org/10.1386/host_00054_1.

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Focusing on The Believers (1987) and Angel Heart (1987), this article examines how occult crime is framed through the central male protagonists’ fragmented subjectivity in the respective investigation narratives. Through close analysis of the films’ shared cinematic languages of horror and neo-noir, I present how these texts are in direct dialogue with the ‘Satanic Panic’, the contemporary phenomenon of religious hysteria propagated by Reaganite conservatism and the New Christian Right. I argue that post-Vietnam masculine identity anxieties are intimately tied, and interrogated in these films,

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Pytlovana, Liliia. "The prohibition movement in the United States: the Prohibition Party in cartoons of the late 19th and early 20th centuries." American History & Politics: Scientific edition, no. 11 (2021): 23–33. http://dx.doi.org/10.17721/2521-1706.2021.11.2.

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The present paper has three main objectives: 1) to cover the history of American temperance movements at the turn of the 19th-20th centuries, and their key characteristics; 2) to trace the Prohibition Party history and activity; 3) to do a content-analysis of «Prohibition Cartoons» published in 1904 to support the Prohibition Party candidates to the House of Representatives. Research methodology provides a critical approach to interpreting cartoons based on E. Panofsky’s three strata analysis from the primary subject through conventional subject matter to intrinsic content. Quantitative and qu

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Zhezhko-Braun, Irina. ""Project 1619" as an alternative to "American project"." Ideas and Ideals 13, no. 1-1 (2021): 80–111. http://dx.doi.org/10.17212/2075-0862-2021-13.1.1-80-111.

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This article is the second in a series on the birth of a new elite in the United States, called ‘the minority elite’. The previous article hypothesized that what is happening is not so much the replenishment or evolution of the old elite, but the emergence of a new one, grown on the basis of the Affirmative Action Program, the culture of ‘woke capitalism’ and decades of the minority protest. The process of elite change intensified on the wave of protest activity of black minority, primarily ‘Black Lives Matter’ movement, in the summer of 2020, which coincided with elections to all branches of

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Ickstadt, Heinz. "Review of Susanne Rohr, Von Grauen und Glamour: Repräsentationen des Holocaust in den USA und Deutschland." New American Studies Journal 73 (December 22, 2022). http://dx.doi.org/10.18422/73-20.

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Much has already been written on the Holocaust and its history, but the question of how we can cope with it, how we can live with what we know about it, or how we can imagine what has been called “unimaginable” has been haunting several generations of those who collectively inherited either a history of pain and suffering or a history of collective crime. In view of such moral complexities, Susanne Rohr’s study of representations of the Holocaust in the United States and Germany is a remarkable scholarly achievement. It deals with seventy years of artistic and literary documents—memoirs, autob

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Franks, Rachel, Simon Dwyer, and Denise N. Rall. "Re-imagine." M/C Journal 18, no. 6 (2016). http://dx.doi.org/10.5204/mcj.1050.

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To re-imagine can, at one extreme, be a casual thought (what if I moved all the furniture in the living room?) and, at the other, re-imagining can be a complex process (what if I adapt a classic text into a major film?). There is a long history of working with the ideas of others and of re-working our own ideas. Of taking a concept and re-imagining it into something that is similar to the original and yet offers something new. Such re-imaginations are all around us; from the various interpretations of the Sherlock Holmes stories to the adjustments made, often over generations, to family recipe

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Rolls, Alistair. "The Re-imagining Inherent in Crime Fiction Translation." M/C Journal 18, no. 6 (2016). http://dx.doi.org/10.5204/mcj.1028.

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Introduction When a text is said to be re-appropriated, it is at times unclear to what extent this appropriation is secondary, repeated, new; certainly, the difference between a reiteration and an iteration has more to do with emphasis than any (re)duplication. And at a moment in the development of crime fiction in France when the retranslation of now apparently dated French translations of the works of classic American hardboiled novels (especially those of authors like Dashiell Hammett, whose novels were published in Marcel Duhamel’s Série Noire at Gallimard in the decades following the end

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Potts, Graham. "For God and Gaga: Comparing the Same-Sex Marriage Discourse and Homonationalism in Canada and the United States." M/C Journal 15, no. 6 (2012). http://dx.doi.org/10.5204/mcj.564.

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We Break Up, I Publish: Theorising and Emotional Processing like Taylor Swift In 2007 after the rather painful end of my first long-term same-sex relationship I asked myself two questions (and like a good graduate student wrote a paper about it that was subsequently published): (1) what is love; (2) and if love exists, are queer and straight love somehow different. I asked myself the second question because, unlike my previous “straight” breakups (back when I honestly thought I was straight), this one was different, was far more messy, and seemed to have a lot to do with the fact that my then

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Franks, Rachel. "Building a Professional Profile: Charles Dickens and the Rise of the “Detective Force”." M/C Journal 20, no. 2 (2017). http://dx.doi.org/10.5204/mcj.1214.

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IntroductionAccounts of criminals, their victims, and their pursuers have become entrenched within the sphere of popular culture; most obviously in the genres of true crime and crime fiction. The centrality of the pursuer in the form of the detective, within these stories, dates back to the nineteenth century. This, often highly-stylised and regularly humanised protagonist, is now a firm feature of both factual and fictional accounts of crime narratives that, today, regularly focus on the energies of the detective in solving a variety of cases. So familiar is the figure of the detective, it se

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Kellner, Douglas. "Engaging Media Spectacle." M/C Journal 6, no. 3 (2003). http://dx.doi.org/10.5204/mcj.2202.

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In the contemporary era, media spectacle organizes and mobilizes economic life, political conflict, social interactions, culture, and everyday life. My recently published book Media Spectacle explores a profusion of developments in hi-tech culture, media-driven society, and spectacle politics. Spectacle culture involves everything from film and broadcasting to Internet cyberculture and encompasses phenomena ranging from elections to terrorism and to the media dramas of the moment. For ‘Logo’, I am accordingly sketching out briefly a terrain I probe in detail in the book from which these exampl

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Joseph, Kaela. "Gays Burying Ourselves." M/C Journal 28, no. 1 (2025). https://doi.org/10.5204/mcj.3140.

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Introduction Jane Schoenbrun’s I Saw the TV Glow (ISTTVG) is a psychological science fiction/horror film which draws upon audiences’ associations between serialised television and queer identity development to ask a terrifying question: would you bury yourself alive to solve the mystery of a parallel life not yet lived? The film is an allegory for queer experiences of internalised heteronormativity and concealment in which the villain is not the typical monster of the week, but our own selves, suffocating under the mundanity of surroundings we have yet to break free from. Neon noir elements ar

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Schlotterbeck, Jesse. "Non-Urban Noirs: Rural Space in Moonrise, On Dangerous Ground, Thieves’ Highway, and They Live by Night." M/C Journal 11, no. 5 (2008). http://dx.doi.org/10.5204/mcj.69.

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Despite the now-traditional tendency of noir scholarship to call attention to the retrospective and constructed nature of this genre— James Naremore argues that film noir is best regarded as a “mythology”— one feature that has rarely come under question is its association with the city (2). Despite the existence of numerous rural noirs, the depiction of urban space is associated with this genre more consistently than any other element. Even in critical accounts that attempt to deconstruct the solidity of the noir genre, the city is left as an implicit inclusion, and the country, an implict exc

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Francisco, André. "“Small town, big hell”." M/C Journal 28, no. 1 (2025). https://doi.org/10.5204/mcj.3134.

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Introduction The city is one of the most common iconographies associated with film noir, particularly at night. For several noir critics, the city is an inseparable and determining element in the definition, narrative structure, and aesthetic of film noir. However, while urban spaces dominate classic imagery, noir has also engaged significantly with rural and small-town settings. These spaces challenge the presumed centrality of the city, revealing noir’s capacity to explore moral decay, isolation, and violence beyond the urban landscape. This article examines the role of rural and small-town

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Schmid, David. "Murderabilia." M/C Journal 7, no. 5 (2004). http://dx.doi.org/10.5204/mcj.2430.

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Online shopping is all the rage these days and the murderabilia industry in particular, which specializes in selling serial killer artifacts, is booming. At Spectre Studios, sculptor David Johnson sells flexible plastic action figures of Ted Bundy, Jeffrey Dahmer, and John Wayne Gacy and plans to produce a figure of Jack the Ripper in the future. Although some might think that making action figures of serial killers is tasteless, Johnson hastens to assure the potential consumer that he does have standards: “I wouldn’t do Osama bin Laden . . . I have some personal qualms about that” (Robinson).

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West, Patrick Leslie. "Towards a Politics and Art of the Land: Gothic Cinema of the Australian New Wave and Its Reception by American Film Critics." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.847.

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Many films of the Australian New Wave (or Australian film renaissance) of the 1970s and 1980s can be defined as gothic, especially following Jonathan Rayner’s suggestion that “Instead of a genre, Australian Gothic represents a mode, a stance and an atmosphere, after the fashion of American Film Noir, with the appellation suggesting the inclusion of horrific and fantastic materials comparable to those of Gothic literature” (25). The American comparison is revealing. The 400 or so film productions of the Australian New Wave emerged, not in a vacuum, but in an increasingly connected and inter-mix

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Fowles, Jib. "Television Violence and You." M/C Journal 3, no. 1 (2000). http://dx.doi.org/10.5204/mcj.1828.

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Introduction Television has become more and more restricted within the past few years. Rating systems and "family programming" have taken over the broadcast networks, relegating violent programming, often some of the most cutting edge work in television, to pay channels. There are very few people willing to stand up and say that viewers -- even young children -- should be able to watch whatever they want, and that viewing acts of violence can actually result in more mature, balanced adults. Jib Fowles is one of those people. His book, The Case For Television Violence, explores the long history

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Strungaru, Simona. "The Blue Beret." M/C Journal 26, no. 1 (2023). http://dx.doi.org/10.5204/mcj.2969.

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When we think of United Nations (UN) peacekeepers, the first image that is conjured in our mind is of an individual sporting a blue helmet or a blue beret (fig. 1). While simple and uncomplicated, these blue accessories represent an expression and an embodiment resembling that of a warrior, sent to bring peace to conflict-torn communities. UN peacekeeping first conceptually emerged in 1948 in the wake of the Arab-Israeli war that ensued following the United Kingdom’s relinquishing of its mandate over Palestine, and the proclamation of the State of Israel. “Forged in the crucible of practical d

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Allison, Deborah. "Film/Print." M/C Journal 10, no. 2 (2007). http://dx.doi.org/10.5204/mcj.2633.

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   Introduction Based on the profusion of scholarly and populist analysis of the relationship between books and films one could easily be forgiven for thinking that the exchange between the two media was a decidedly one-way affair. Countless words have been expended upon the subject of literary adaptation, in which the process of transforming stories and novels into cinematic or televisual form has been examined in ways both general and particular. A relationship far less well-documented though is that between popular novels and the films that have spawned them. With the nota

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19

Brabazon, Tara. "Welcome to the Robbiedome." M/C Journal 4, no. 3 (2001). http://dx.doi.org/10.5204/mcj.1907.

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One of the greatest joys in watching Foxtel is to see all the crazy people who run talk shows. Judgement, ridicule and generalisations slip from their tongues like overcooked lamb off a bone. From Oprah to Rikki, from Jerry to Mother Love, the posterior of pop culture claims a world-wide audience. Recently, a new talk diva was added to the pay television stable. Dr Laura Schlessinger, the Mother of Morals, prowls the soundstage. attacking 'selfish acts' such as divorce, de facto relationships and voting Democrat. On April 11, 2001, a show aired in Australia that added a new demon to the decade

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Michele Guerra. "Cinema as a form of composition." TECHNE - Journal of Technology for Architecture and Environment, May 25, 2021, 51–57. http://dx.doi.org/10.36253/techne-10979.

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Technique and creativity Having been called upon to provide a contribution to a publication dedicated to “Techne”, I feel it is fitting to start from the theme of technique, given that for too many years now, we have fruitlessly attempted to understand the inner workings of cinema whilst disregarding the element of technique. And this has posed a significant problem in our field of study, as it would be impossible to gain a true understanding of what cinema is without immersing ourselves in the technical and industrial culture of the 19th century. It was within this culture that a desire

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Michele, Guerra NA. "Cinema as a form of composition." November 17, 2021. https://doi.org/10.36253/techne-10979.

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Technique and creativity Having been called upon to provide a contribution to a publication dedicated to "Techne", I feel it is fitting to start from the theme of technique, given that for too many years now, we have fruitlessly attempted to understand the inner workings of cinema whilst disregarding the element of technique. And this has posed a significant problem in our field of study, as it would be impossible to gain a true understanding of what cinema is without immersing ourselves in the technical and industrial culture of the 19th century. It was within this culture that a desire

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Kolff, Louise Moana. "New Nordic Mythologies." M/C Journal 20, no. 6 (2017). http://dx.doi.org/10.5204/mcj.1328.

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IntroductionNordic mythology, also known as Norse mythology, is a term used to describe Medieval creation myths and tales of Gods and otherworldly realms, told and retold by Northern Germanic and Scandinavian tribes of the ninth century AD (see for example Gaiman).I discuss a new type of Nordic mythology that is being created through popular culture, social media, books, and television shows. I am interested in how contemporary portrayals of the Nordic countries has created a kind of mythological place called Scandinavia, where things, people, and ideas are better than in other places.Whereas

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Gehrmann, Richard. "War, Snipers, and Rage from Enemy at the Gates to American Sniper." M/C Journal 22, no. 1 (2019). http://dx.doi.org/10.5204/mcj.1506.

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The concept of war is inextricably linked to violence, and military action almost always resounds with the emotion and language of rage. Since the War on Terror began in September 2001, post-9/11 expressions of terror and rage have influenced academics to evaluate rage and its meanings (Gildersleeve and Gehrmann). Of course, it has directly influenced the lives of those affected by global conflicts in war-torn regions of the Middle East and North Africa. The populace there has reacted violently to military invasions with a deep sense of rage, while in the affluent West, rage has also infiltrat

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Craven, Allison Ruth. "The Last of the Long Takes: Feminism, Sexual Harassment, and the Action of Change." M/C Journal 23, no. 2 (2020). http://dx.doi.org/10.5204/mcj.1599.

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The advent of the #MeToo movement and the scale of participation in 85 countries (Gill and Orgad; see Google Trends) has greatly expanded debate about the revival of feminism (Winch Littler and Keeler) and the contribution of digital media to a “reconfiguration” of feminism (Jouet). Insofar as these campaigns are concerned with sexual harassment and related forms of sexual abuse, the longer history of sexual harassment in which this practice was named by women’s movement activists in the 1970s has gone largely unremarked except in the broad sense of the recharging or “techno-echo[es]” (Jouet)

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Killeen, Padraic. "Ecology, Materialism, and Transfiguration." M/C Journal 28, no. 2 (2025). https://doi.org/10.5204/mcj.3173.

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Introduction An ecologically responsive parable about biological mutation in a post-apocalyptic environment, David Cronenberg’s Crimes of the Future (2022) was hailed on release as a “dream-noir” (Ehrlich), a “sci-fi noir” (Oller), and a “body-noir” (“Crimes”). The use of the term ‘noir’ here is enigmatic. As is often the case, the term is deployed to address a quality that otherwise resists easy identification. Noir has, of course, acquired a multitude of connotations and aesthetic legacies over the years. As I have observed elsewhere, one of those legacies is a concern with the physicality o

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Kennedy, Ümit. "Exploring YouTube as a Transformative Tool in the “The Power of MAKEUP!” Movement." M/C Journal 19, no. 4 (2016). http://dx.doi.org/10.5204/mcj.1127.

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IntroductionSince its launch in 2005, YouTube has fast become one of the most popular video sharing sites, one of the largest sources of user generated content, and one of the most frequently visited sites globally (Burgess and Green). As YouTube’s popularity has increased, more and more people have taken up the site’s invitation to “Broadcast Yourself.” Vlogging (video blogging) on YouTube has increased in popularity, creating new genres and communities. Vlogging not only allows individuals to create their own mediated content for mass consumption—making it a site for participatory culture (B

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Brien, Donna Lee. "The Real Filth in American Psycho." M/C Journal 9, no. 5 (2006). http://dx.doi.org/10.5204/mcj.2657.

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   1991 An afternoon in late 1991 found me on a Sydney bus reading Brett Easton Ellis’ American Psycho (1991). A disembarking passenger paused at my side and, as I glanced up, hissed, ‘I don’t know how you can read that filth’. As she continued to make her way to the front of the vehicle, I was as stunned as if she had struck me physically. There was real vehemence in both her words and how they were delivered, and I can still see her eyes squeezing into slits as she hesitated while curling her mouth around that final angry word: ‘filth’. Now, almost fifteen years later, the

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Ryder, Paul, and Daniel Binns. "The Semiotics of Strategy: A Preliminary Structuralist Assessment of the Battle-Map in Patton (1970) and Midway (1976)." M/C Journal 20, no. 4 (2017). http://dx.doi.org/10.5204/mcj.1256.

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The general who wins a battle makes many calculations in his temple ere the battle is fought. — Sun TzuWorld War II saw a proliferation of maps. From command posts to the pages of National Geographic to the pages of daily newspapers, they were everywhere (Schulten). The era also saw substantive developments in cartography, especially with respect to the topographical maps that feature in our selected films. This essay offers a preliminary examination of the battle-map as depicted in two films about the Second World War: Franklin J. Shaffner’s biopic Patton (1970) and Jack Smight’s epic Midway

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Gertz, Janine, Emma Maguire, Theresa Petray, and Bryan Smith. "Violence." M/C Journal 23, no. 2 (2020). http://dx.doi.org/10.5204/mcj.1658.

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As part of an effort to grapple with the meaning of violence, Hannah Arendt argued that it was curious how infrequently violence was taken up for special consideration in conversations of history and politics, remarking that “this shows to what an extent violence and its arbitrariness were taken for granted and therefore neglected; no one questions or examines what is obvious to all” (8). While we are not suggesting that violence has eluded the critical eye in the time since Arendt’s argument, there is something remarkably resonant about the idea that violence is taken-for-granted as part of h

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Duncan, Pansy Kathleen. "The Uses of Hate: On Hate as a Political Category." M/C Journal 20, no. 1 (2017). http://dx.doi.org/10.5204/mcj.1194.

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I. First Brexit, then Trump: Has the past year or so ushered in a “wave” (Weisberg), a “barrage” (Desmond-Harris) or a “deluge” (Sidahmed) of that notoriously noxious affect, hate? It certainly feels that way to those of us identified with progressive social and political causes—those of us troubled, not just by Trump’s recent electoral victory, but by the far-right forces to which that victory has given voice. And yet the questions still hanging over efforts to quantify emotional or affective states leaves the claim that there has been a clear spike in hate moot (Ngai 26; Massumi 136-7; Ahmed

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Lombard, Kara-Jane. "“To Us Writers, the Differences Are Obvious”." M/C Journal 10, no. 2 (2007). http://dx.doi.org/10.5204/mcj.2629.

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   Introduction It appears that graffiti has begun to clean up its act. Escalating numbers of mature graffiti writers feel the removal of their graffiti has robbed them of a history, and are turning to legal projects in an effort to restore it. Phibs has declared the graffiti underground “limited” and Kano claims its illegal aspect no longer inspires him (Hamilton, 73). A sign of the times was the exhibition Sake of Name: Australian Graffiti Now which opened at the Wharf 2 Theatre in January 2001. The exhibition was commissioned by the Sydney Theatre Company and comprised twe

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Goggin, Gerard, and Christopher Newell. "Fame and Disability." M/C Journal 7, no. 5 (2004). http://dx.doi.org/10.5204/mcj.2404.

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When we think of disability today in the Western world, Christopher Reeve most likely comes to mind. A film star who captured people’s imagination as Superman, Reeve was already a celebrity before he took the fall that would lead to his new position in the fame game: the role of super-crip. As a person with acquired quadriplegia, Christopher Reeve has become both the epitome of disability in Western culture — the powerful cultural myth of disability as tragedy and catastrophe — and, in an intimately related way, the icon for the high-technology quest for cure. The case of Reeve is fascinating,

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Marshall, P. David. "Seriality and Persona." M/C Journal 17, no. 3 (2014). http://dx.doi.org/10.5204/mcj.802.

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No man [...] can wear one face to himself and another to the multitude, without finally getting bewildered as to which one may be true. (Nathaniel Hawthorne Scarlet Letter – as seen and pondered by Tony Soprano at Bowdoin College, The Sopranos, Season 1, Episode 5: “College”)The fictitious is a particular and varied source of insight into the everyday world. The idea of seriality—with its variations of the serial, series, seriated—is very much connected to our patterns of entertainment. In this essay, I want to begin the process of testing what values and meanings can be drawn from the idea of

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Heise, Franka. ""I’m a Modern Bride": On the Relationship between Marital Hegemony, Bridal Fictions, and Postfeminism." M/C Journal 15, no. 6 (2012). http://dx.doi.org/10.5204/mcj.573.

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Introduction This article aims to explore some of the ideological discourses that reinforce marriage as a central social and cultural institution in US-American society. Andrew Cherlin argues that despite social secularisation, rising divorce rates and the emergence of other, alternative forms of love and living, marriage “remains the most highly valued form of family life in American culture, the most prestigious way to live your life” (9). Indeed, marriage in the US has become an ideological and political battlefield, with charged debates about who is entitled to this form of state-sanctione

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