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Relevant bibliographies by topics / Gangster films

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Academic literature on the topic 'Gangster films'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2024

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Journal articles on the topic "Gangster films"

1

Plaice, Mark R. "Domesticating gangsters? Home/work conflicts in South Korean family drama gangster film." East Asian Journal of Popular Culture 6, no. 2 (August 1, 2020): 275–92. http://dx.doi.org/10.1386/eapc_00030_1.

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Gangster films are largely an urban genre set in the mean streets of metropolitan ganglands. A significant proportion of South Korean gangster films depart from this spatial convention, however, setting their central family or romance plots in the domestic space of the apartment. This article addresses the question of why we find gangsters in domestic space in South Korean cinema and examines what the domestic setting ‘does’ to the gangster film. The Show Must Go On (2008) is discussed in detail to exemplify the ways that questions of masculinity, gendered family role performance and class anxieties are crystallized around domestic space. What emerges in this spatial shift is a new sub-genre, the ‘family drama gangster film’. This form combines elements of the traditional gangster narrative with family melodrama, producing tension between the conflicting obligations of the gangster towards gang and family. The article concludes that the family drama gangster film emerged as a response to a conjunction of socio-economic and film industry factors and became a vehicle through which conflict between competing ideologies of Korean familism is negotiated, mostly resolving in favour of affective familism.

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Laukkanen, Tatu-Ilari. "Shanghai gangster films and the politics of change." Novos Olhares 9, no. 1 (July 10, 2020): 81–97. http://dx.doi.org/10.11606/issn.2238-7714.no.2020.172000.

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In this paper through a very close textual reading I will show the ideological differences between two films based on the life of Shanghai gangster Du Yuesheng (1888, Pudong – 1951, Hong Kong) through close formal and narrative analysis. Du was already a celebrity in his day in the Republican era and is still a con-troversial figure in Greater China. However, there are only two films based on the life of the French Con-cession opium kingpin, the recent Hong Kong/PRC co-production The Last Tycoon (Da Shang Hai, Wong Jing, 2012) and the epic two part Lord of the East China Sea I & II (Shang Hai huang di zhi: Sui yue feng yun & Shang Hai huang di zhi: Xiong ba tia xia, Hong Kong, Poon Man-kit 1993). I show how these films reflect HK's and China's politico-economic changes focusing on the representation of social class and the subject, depiction of internal migration and immigration, and nationalism. The films will be discussed in their relation to changes in the Hong Kong film industry, Chinese and world cinema and the transnational gangster genre, showing how local and global cinemas have affected these films.

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Moldovan, Raluca. "A Romanian Jew in Hollywood: Edward G. Robinson." American, British and Canadian Studies Journal 22, no. 1 (August 15, 2014): 43–62. http://dx.doi.org/10.2478/abcsj-2014-0022.

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Abstract The present study aims to investigate the contribution that actor Edward G. Robinson brought to the American film industry, beginning with his iconic role as gangster Little Caesar in Mervyn Le Roy’s 1931 production, and continuing with widely-acclaimed parts in classic film noirs such as Double Indemnity, The Woman in the Window and Scarlet Street. Edward G. Robinson was actually a Romanian Jew, born Emmanuel Goldenberg in Bucharest, in 1893, a relatively little known fact nowadays. By examining his biography, filmography and his best-known, most successful films (mentioned above), I show that Edward G. Robinson was one of classical Hollywood’s most influential actors; for instance, traits of his portrayal of Little Caesar (one of the very first American gangster films) can be found in almost all subsequent cinematic gangster figures, from Scarface to Vito Corleone. In the same vein, the doomed noir characters he played in Fritz Lang’s The Woman in the Window and Scarlet Street are still considered by film critics today to be some of the finest, most nuanced examples of noir heroes. Therefore, the main body of my article will be dedicated to a more detailed analysis of these films, while the introductory section will trace his biography and discuss some of his better-known films, such as Confessions of a Nazi Spy and Key Largo. The present study highlights Edward G. Robinson’s merits and impact on the cinema industry, proving that this diminutive Romanian Jew of humble origins was indeed something of a giant during Hollywood’s classical era.

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Budiman, Rido, Novita Puspahaty, and Dian Puspita Sari. "GANGSTER, GHOST, AND TRADITION: REPRESENTATION OF MARKET IN THREE INDONESIA FILMS." Makna: Jurnal Kajian Komunikasi, Bahasa, dan Budaya 13, no. 2 (August 29, 2023): 1–20. http://dx.doi.org/10.33558/makna.v13i2.7148.

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This research aims to determine what kind of market representation is displayed in three Indonesian films namely Di Bawah Lindungan Ka’bah, Gangster, Rumah Hantu Pasar Malam and how the viewers interpret it through various internet platform. The qualitative research design in the field of cultural studies especially the theory of representation and encoding-decoding from Hall is used to analyze data in the present study. By researching the above factors, we aim to provide more information toward the meaning of Indonesian films from the point of view of cultural studies.

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Dibeltulo, Silvia. "Family, Gang and Ethnicity in Italian-themed Hollywood Gangster Films." Film International 12, no. 4 (December 1, 2014): 25–43. http://dx.doi.org/10.1386/fiin.12.4.25_1.

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Kessler, Kelly. "Bound Together." Film Quarterly 56, no. 4 (2003): 13–22. http://dx.doi.org/10.1525/fq.2003.56.4.13.

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While many recent male-directed lesbian-couplefocused films contain murdering or violent lesbians, the dyke mob thriller Bound stands apart. This study analyzes the film in terms of three issues—the presentation of the female body and lesbian sex, stereotyping, and a caricature of the gangster genre—and shows how Bound avoids selling out to or alienating the mass audience while successfully providing a needed space for polyvalent identification and pleasure.

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Breitwieser, Mitchell. "The Third Man: Zone/Frontier; Gangster Films and Westerns." Hopkins Review 5, no. 1 (2012): 13–47. http://dx.doi.org/10.1353/thr.2012.0016.

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McGuire, John Thomas. "Formation Of The Ambiguous Heroic Archetype: Three Jewish-American Film Actors And The United States’ Film System, 1929-1948." CINEJ Cinema Journal 9, no. 1 (July 14, 2021): 200–245. http://dx.doi.org/10.5195/cinej.2021.322.

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As Carl Jung and Joseph Campbell note, archetypes, or general ideas of human types, strongly influence societies, particularly the heroic archetype. Since the 1890s mainstream cinema has facilitated the heroic archetype for worldwide audiences. This article argues that Paul Muni (1895-1967), Edward G. Robinson (1893-1973), and John Garfield (1913-1952) became the first important Jewish-American film actors to help develop the ambiguous heroic archetype in the United States’ studio system from 1929 through 1948 in two ways: Muni’s and Robinson’s critical performances in the 1930s and 1940s, particularly in gangster and film noir films, and Garfield’s films from 1946 through 1948.

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Alvim, Luíza Beatriz. "Between genres and styles in the films of Robert Bresson." CINEJ Cinema Journal 5, no. 1 (February 17, 2016): 113–36. http://dx.doi.org/10.5195/cinej.2015.127.

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The films of French director Robert Bresson are considered sober and transcendental. However, in A gentle woman (1969) and in Four nights of a dreamer (1972), he included extracts of quite different genres, like a libertine comedy (the extract of film Benjamim by Michel Deville, 1968), a Shakespearean tragedy (a performance of Shakespeare´s Hamlet) and a gangster film (When love possesses us, produced by Bresson himself). In a way, those excerpts represent exactly the opposite of Bresson´s cinema. On the other hand, they still have some familiarity with it. We analyze the approach of those genres in the sequences in Bresson´s films, as well of the styles present in them by the use of music and images of paintings.

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Moffat, Kate. "Race, Ethnicity, and Gang Violence: Exploring Multicultural Tensions in Contemporary Danish Cinema." Scandinavian-Canadian Studies 25 (December 1, 2018): 136–53. http://dx.doi.org/10.29173/scancan156.

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ABSTRACT: One of the most striking genre conventions to emerge in Danish cinema in recent years is the gangster motif. Replete with gritty social realism, urban decay, and tribal warfare between different ethnic groups, these films reflect a growing discontent in the Danish welfare state, particularly regarding multiculturalism and inclusion. This article follows these trends from the mid-1990s, focusing specifically on the themes of ethnic division in four films: Nicolas Winding Refn’s Pusher (1996), Michael Noer’s Nordvest (2013) [Northwest], Omar Shargawi’s Gå med fred, Jamil (2008) [Go With Peace, Jamil], and Michael Noer and Tobias Lindholm’s R (2010) [R: Hit First, Hit Hardest]. The article explores racial division in these films by examining how they reflect or subvert cultural and political approaches towards diversity in Denmark over the last two decades.

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Dissertations / Theses on the topic "Gangster films"

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Woods, Rachel. "The 'Glam' Gangster : realism and glamor in modern British gangster films /." Title page, contents and chapter summaries only, 1999. http://web4.library.adelaide.edu.au/theses/09AR/09arw8962.pdf.

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Liu, Ka-wang Angus. "Popular culture in Hong Kong : discourse of law and order in the gangster movies of the 1990s /." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22198969.

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Young, Nerys. "Captive city, captive audience : the Kefauver hearings and representations of the Hollywood gangster." Thesis, University of Ulster, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.252428.

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Lamberti, Justin V. Winn J. Emmett. "Fagidaboudit the American dream and Italian-American gangster movies /." Auburn, Ala., 2005. http://repo.lib.auburn.edu/2005%20Summer/master's/LAMBERTI_JUSTIN_26.pdf.

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Liu, Ka-wang Angus, and 廖家泓. "Popular culture in Hong Kong: discourse of law and order in the gangster movies of the 1990s." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31952756.

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Yu, King-lun Sunny, and 余經綸. "Gender and crime in postmodern cinema." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B29793233.

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Magnani, Matthew Daniel. "Martin Scorsese, Quentin Tarantino, and the Crime Films of the Nineteen Nineties." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc278623/.

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Martin Scorsese's films, GOODFELLAS and CASINO, and Quentin Tarantino's RESERVOIR DOGS and PULP FICTION are examined to determine if the crime film of the 1990s has become increasingly more in the style of film noir. The differences and similarities between the two crime films each director has either written or co-written in the 1990s are delineated to demonstrate this trend. Other crime films of the latter 1990s (SEVEN, THE USUAL SUSPECTS, and MULHOLLAND FALLS) are also examined to aid in defining the latest incarnation of the crime film as "Noir Modernist," a term that is demonstrated to be a more accurate description for the current crime films than B. Ruby Rich's, "Neo-Noir of the 1990s."

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Prince, Rob. "Say Hello to My Little Friend: De Palma's Scarface, Cinema Spectatorship, and the Hip Hop Gangsta as Urban Superhero." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1256860175.

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Platini, Vincent. "Démons du crime : les pouvoirs du truand et son instrumentalisation idéologique dans la littérature et le cinéma de l’entre-deux-guerres (Allemagne, États-Unis, France)." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040067.

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Durant l’entre-deux-guerres, les figures de truand ont proliféré dans la production culturelle.Les conditions socio-économiques ont historiquement favorisé l’essor d’une criminalité qui a largement été représentée dans la culture de masse, les films, les romans policiers et les pièces de théâtre de cette période. Les figures de truands sont d’autant plus protéiformes que les relations de pouvoir ont été bouleversées : les autorités officielles ont été contestées,les frontières de la légalité redéfinies et, avec l’avènement du Troisième Reich, les anciens contestataires ont accédé au pouvoir. Les personnages criminels prennent ainsi des significations ambivalentes : ils peuvent servir le contrôle social, imposer des normes et justifier des mesures de surveillance auprès de la population, mais aussi incarner une résistance aux pouvoirs en place, indiquant des échappatoires dans les dispositifs de contrôle et de nouveaux modes de vie. Se fondant sur les théories de Michel Foucault, cette thèse examine les discours – sociaux,politiques, scientifiques – à l’œuvre dans la production culturelle et les instrumentalisations– idéologiques, esthétiques ou pratiques – de ces personnages. Elle fait apparaître que les truands participent de logiques punitives et disciplinaires qui assujettissent le public, mais qu’ils remettent également en cause les pouvoirs et les discours qui façonnent leurs représentations.Ce travail montre en outre que, la culture de masse s’adaptant aux désirs de ses consommateurs,les truands peuvent faire l’objet d’une réappropriation du public. Ces personnages se font les vecteurs de nouvelles pratiques culturelles et de nouveaux liens sociaux
The cultural productions of the interwar years were marked by the proliferation of representations of the mobster figure. Historically, the socio-economic context facilitated the emergence of a certain criminality which started being widely depicted in mass culture including films, crimen ovels and drama. The mobster figure depicted in these productions turns out to be all the more versatile since power relations were going through profound changes at that time : the official authorities were being contested, the limits of legality were redefined and with the advent of the Third Reich, those who had once challenged power eventually acceded to it. The representations of mobsters therefore acquired ambiguous meanings. These characters could very well support social control by imposing norms and justifying measures of surveillance orembody resistance against the establishment, pointing out loopholes in control systems and promoting new life styles. Based on Michel Foucault’s works, this dissertation examines the social, scientific and political discourses featured in the cultural productions of that periodas well as the ideological, esthetical and practical instrumentalisation of these characters. This dissertation argues that mobsters may appear as participants of punitive and disciplinary systems which subdue the people, but may also be questioning the powers and discourses that shape their representations. This work further demonstrates that, because mass culture usually adapts itself to its consumers, the mobsters may also be taken on by the audience, being the promoters of new cultural practices and new social bonds

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Tanaka, Elder Kôei Itikawa. "Inimigos públicos em Hollywood: estratégias de contenção e ruptura em dois filmes de gângster dos anos 1930-1940." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-29082016-114306/.

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O objetivo dessa tese é investigar de que maneira Little Caesar (Mervyn Leroy, 1931) e Force of Evil (Abraham Polonsky, 1947) registram, dentro do gênero gângster, questões como a Depressão na década de 1930, e o macarthismo na década de 1940, ao mesmo tempo em que estabelecem homologias estruturais entre o crime organizado e o mundo dos negócios. Tais questões surgem nesses dois filmes por força da matéria histórica envolvida nas condições de produção. Nossa tese é de que os filmes configuram, em diferentes medidas, estratégias de representação da matéria histórica apesar das tentativas de seu apagamento, como a censura e o macarthismo.
The aim of this thesis is to analyze how Little Caesar (Mervyn Leroy, 1931) and Force of Evil (Abraham Polonsky, 1947) portray, in the gangster genre, historically relevant questions such as the Great Depression in the 1930s and McCarthyism in the 1940s, while establishing structural homologies between organized crime and the business world. These themes arise in both films due to the strength of the historical substance implicated in the conditions of production. Our thesis is that these films depict, in different proportions, strategies of representation of the historical substance in spite of attempts to suppress it, such as censorship and McCarthyism.

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Books on the topic "Gangster films"

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Bookbinder, Robert. Classic gangster films. Secaucus, N.J: Citadel Press, 1993.

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Parish, James Robert. The great gangster pictures II. Metuchen, N.J: Scarecrow Press, 1987.

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Venturelli, Renato. Gangster in cento film. Recco, Genova: Mani, 2000.

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Helman, Alicja. Film gangsterski. Warszawa: Wydawnictwa Artystyczne i Filmowe, 1990.

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Anastasia, George. The ultimate book of gangster movies: Featuring the 100 greatest gangster films of all time. Philadelphia: Running Press, 2011.

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Gangster films: A comprehensive, illustrated reference to people, films, and terms. Jefferson, N.C: McFarland, 1996.

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Hederman, Jennifer. Permutations of power in three recent gangster films. Dublin: National College of Art and Design, 1998.

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Fukuma, Kenji, and Mikio Yamazaki. Ōyakuza eiga-dokuhon: Ōwarai 30-nen no bakasawagi. Tōkyō: Yōsensha, 1993.

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Consellería de Cultura, Educación y Ciencia de la Generalidad Valenciana. Extensión Cinematográfica., ed. Nuevo cine policíaco: Ciclos de Extensión Cinematográfica 1990. [Valencia]: Generalitat Valenciana, Conselleria de Cultura, Educació i Ciència, 1990.

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Public enemies, public heroes: Screening the gangster from Little Caesar to Touch of Evil. Chicago: University of Chicago Press, 1999.

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Book chapters on the topic "Gangster films"

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Fidotta, Giuseppe. "Gangster films reloaded." In The Routledge Companion to European Cinema, 316–25. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003027447-34.

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Granell, Ana Rodríguez. "When Criticism Meets Gangster Films." In A Companion to the Gangster Film, 209–27. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2018. http://dx.doi.org/10.1002/9781119041757.ch11.

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Ennis, Larissa M. "Off-White Masculinity in Martin Scorsese's Gangster Films." In A Companion to Martin Scorsese, 173–94. Hoboken, NJ: John Wiley & Sons, Inc., 2014. http://dx.doi.org/10.1002/9781118585344.ch8.

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Mowlabocus, Sharif. "Arse Bandits: Exploring Nostalgic Representations of Queerness in Gangster Films." In Queer Popular Culture, 137–49. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1007/978-1-349-29011-6_10.

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Mowlabocus, Sharif. "Arse Bandits: Exploring Nostalgic Representations of Queerness in Gangster Films." In Queer Popular Culture, 137–49. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230604384_10.

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Bearce, Stephanie. "Gangster Speak." In Top Secret Files, 25–30. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003239154-10.

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Dibeltulo, Silvia. "Tales of Loss, Betrayal, and Regain: Irishness and Ethnic Identity in Contemporary Irish-Themed American Gangster Films." In Rethinking Genre in Contemporary Global Cinema, 33–47. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-90134-3_3.

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Munby, Jonathan. "From Gangsta to Gangster: The Hood Film’s Criminal Allegiance with Hollywood." In The New Film History, 166–79. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1007/9780230206229_12.

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Bakari, Imruh. "The Jamaican Gangster Film." In A Companion to the Gangster Film, 182–207. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2018. http://dx.doi.org/10.1002/9781119041757.ch10.

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Mason, Fran. "Modernity and the Classic Gangster Film." In American Gangster Cinema, 1–30. London: Palgrave Macmillan UK, 2002. http://dx.doi.org/10.1057/9780230596399_1.

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Conference papers on the topic "Gangster films"

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Lin, Zitong. "Female Characters in the Gangster Films of Martin Scorsese." In Proceedings of the 4th International Conference on Humanities Science, Management and Education Technology (HSMET 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/hsmet-19.2019.102.

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