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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 sociauxThe 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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Vugman, Fernando Simão. "The gangster in film and literature." Florianópolis, SC, 2000. http://repositorio.ufsc.br/xmlui/handle/123456789/78172.
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Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão.Made available in DSpace on 2012-10-17T11:06:09Z (GMT). No. of bitstreams: 0Bitstream added on 2014-09-25T17:15:20Z : No. of bitstreams: 1 177932.pdf: 6186126 bytes, checksum: 0cb45a91a397ae00293b454c112c2398 (MD5)
Estudo do gangster na literatura e no cinema hollywoodiano, desde seu surgimento no início da década de 1930, até a década de 1990. O gangster é analisado como uma figura mítica, ao passo que a produção de Hollywood é discutida como a moderna mitologia da sociedade americana. Para melhor explicar o gangster, é-lhe aplicada a metáfora do monstro, isto é, aquele ser comum a todas as sociedades humanas, cuja função é personificar todo o mal. Afirma-se que existem, no plano ideológico, dois tipos básicos de personagens nos filmes de Hollywood: os ideologicamente positivos e os negativos; ambos os tipos servem para reafirmar a ideologia dominante. O gangster é um tipo único, já que somente ele resiste a cumprir a função de reafirmação ideológica.
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Coccimiglio, Carmela. "Absent Presence: Women in American Gangster Narrative." Thèse, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/26217.
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Absent Presence: Women in American Gangster Narrative investigates women characters in American gangster narratives through the principal roles accorded to them. It argues that women in these texts function as an “absent presence,” by which I mean that they are a convention of the patriarchal gangster landscape and often with little import while at the same time they cultivate resistant strategies from within this backgrounded positioning. Whereas previous scholarly work on gangster texts has identified how women are characterized as stereotypes, this dissertation argues that women characters frequently employ the marginal positions to which they are relegated for empowering effect.
This dissertation begins by surveying existing gangster scholarship. There is a preoccupation with male characters in this work, as is the case in most gangster texts themselves. This preoccupation is a result of several factors, such as defining the genre upon criteria that exclude women, promoting a male-centred canon as a result, and making assumptions about audience composition and taste that overlook women’s (and some women characters’) interest in gangster texts. Consequently, although the past decade saw women scholars bringing attention to female characters, research on male characters continues to dominate the field. My project thus fills this gap by not only examining the methods by which women characters navigate the male-dominated underworld but also including female-centred gangster narratives.
Subsequent chapters focus on women’s predominant roles as mothers, molls, and wives as well as their infrequent role as female gangsters. The mother chapter demonstrates how the gangster’s mother deploys her effacement as an idealized figure in order to disguise her transgressive machinations (White Heat, The Sopranos). The moll chapter examines how this character’s presence as a reforming influence for the male criminal is integral to the earliest narratives. However, a shift to male relationships in mid- to late-1920s gangster texts transforms the moll’s status to that of a moderator (Underworld, The Great Gatsby). On the other hand, subsequent non-canonical texts feature molls as protagonists and illustrate the potential appeal of the gangster figure to women spectators (Three on a Match). Subsequently, the wife chapter explores texts that show presence is manifested in the wife’s cultivation of a traditional family image, while absence is evident in her exposure of this image as a façade via her husband’s activities (The Godfather, Goodfellas). In the following female gangster chapter, I examine how gender functions to render this rare character a literal absent presence such that she is inconceivable as a subject (Lady Scarface, Lady Gangster). Expanding upon this examination of gender, a final chapter on the African-American female gangster (in Set It Off and The Wire) explores how sexuality, race, and female—as well as “gangsta”—masculinity intersect to create this character’s simultaneous hypervisibility and invisibility. By examining women’s roles that often are overlooked in a male-dominated textual type and academic field, this dissertation draws scholarly attention to the ways that peripheral status can offer a stealthy locus for self-assertion.
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LaRose, Nicole Marie. "Gangsters, zombies, and other rebels alternative communities in late twentieth-century British novels and films /." [Gainesville, Fla.] : University of Florida, 2006. http://purl.fcla.edu/fcla/etd/UFE0014923.
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Ennis, Larissa, and Larissa Ennis. "Melodramas of Ethnicity and Masculinity: Generic Transformations of Late Twentieth Century American Film Gangsters." Thesis, University of Oregon, 2012. http://hdl.handle.net/1794/12333.
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Larissa Ennis
Doctor of Philosophy
Department of English
March 2012
Title: Melodramas of Ethnicity and Masculinity: Generic Transformations of Late Twentieth Century American Film Gangsters
The gangster film genre in America has enjoyed a long history, from the first one-reelers
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Murdock, Mark Cammeron. "In the Company of Cheaters (16th-Century Aristocrats and 20th-Century Gangsters)." BYU ScholarsArchive, 2009. https://scholarsarchive.byu.edu/etd/1775.
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This document contains a meta-commentary on the article that I co-authored with Dr. Corry Cropper entitled Breaking the Duel's Rules: Brantôme, Mérimée, and Melville, that will be published in the next issue of Essays in French Literature and Culture, and an annotated bibliography of primary and secondary sources featuring summaries and important quotes dealing with duels, honor, honor codes, cheating, historical causality, chance, and sexuality. Also, several examples of film noir are cited with brief summaries and key events noted. The article we wrote studies two instances of cheating in duels: one found in Brantôme's Discours sur les duels and the other in Prosper Mérimée's Chronique du règne de Charles IX, and the traditional, as well as anti-causal, repercussions they had. Melville's Le Deuxième souffle is also analyzed with regards to the Gaullist Gu Minda and the end of the aristocratic codes of honor that those of his generation dearly respected but that were overcome by the commercial world of republican law and order.
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Larke, Sandra M. "Organisations in the postclassical gangster film : an exploration of possible definitions and functions through genre, Mafia myths, masculinities and ethnicities." Thesis, University of Sunderland, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.392998.
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This thesis will show that postclassical gangster films refer back to the films of the classical era and are heavily influenced by those earlier films, but that they also offer different perspectives. Firstly, I shall provide an overview of gangster films produced between 1967 and 1999. Within this era I shall identify three distinct cycles of gangster film production, and suggest some categories for certain thematic trends that occur. I shall identify various elements that distinguish postclassical gangster films from earlier films. These elements will include a tendency to place narratives in the past, to focus on the collective rather than the individual, to allow gangsters to survive at the end of narratives and to refer to Mafia myths that have developed since the fifties. However, identifying these differences is not the sole purpose of this thesis. I will also focus on the ways in which gangster films have been previously assessed,a nd to what extent these approaches are useful for postclassical gangster films. I shall focus on four key aspects of gangster films, genre, myths, masculinities and ethnicities and examine the ways in which they are articulated in gangster films, and consider the functions of such articulations. Finally, I shall discuss how and why the films might encourage contradictory readings. The overall intention is to focus on the film texts, but certain extratextual evidence such as journal and newspaper reviews will be used to support my discussions. It is my view that while previous critical work on gangster films provides a useful assessment of the films of Hollywood's classical era, they do not offer sufficient assessment of postclassical films. My thesis will extend previous critical works to provide such an assessment.
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Banerjea, Koushik. "Criminally hip : a critical exploration into issues of masculinity, violence and transnational modernity within the spaghetti western and gangster film genres." Thesis, London South Bank University, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.506698.
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My research explores the contingency of key discourses of masculinity, race and violence as they are filtered through particular film genres in which it is the very masculinist dimension of their cultural narratives which is emphasized. To that end the two genres which I focus upon are the 'spaghetti' western and the 'gangster' film. I explore the formative role of cultural production in the circulation and critique of masculinist, or in the case of the screen 'outlaw' or 'gangster', hypermasculinist discourses, particularly as they intersect with issues of racial or ethnic difference. This in tum raises important questions about the transnational component of the urban political economy which is the favoured stomping ground of both the screen, and reallife, gangster. Subsequently the research tests the notion of a global register against which the iconographic figure of the male outlaw is constructed and the implications of this for broader cultural mythologies of race, nation and frontier, for instance as a prototypical narrative of American, English or Indian modernity. My argument is that film, as a culturally promiscuous yet tactical resource, is both the instance and the critique of 'the public enemy' or of the violence of our own self-constitution. It (film) produces and sustains the media gangster as a solipsistic medium through which burgeoning, and increasingly violent, neuroses about the role of masculinity are filtered. By engaging the psychotic underbelly of both visual culture and the foundational myths it indexes, my research synthesises otherwise discrete anxieties around race, desire and violence. It makes the case for how the outsider art of gangster films or spaghetti westerns recalibrates the level of violence we are prepared to live with. It ultimately reveals how it is outlaws in the guise of a domestic citizenry who convert life into myth and image by projecting society's fears back to it as style. Weare the frontier and psychosis is our signature.
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Weidinger, Eli Benjamin. "The Sopranos Experience." Scholar Commons, 2013. http://scholarcommons.usf.edu/etd/4610.
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My thesis explores what I call the "Sopranos Experience," which draws upon both the historical conventions of the gangster genre as well as the aesthetics and economics of pay-cable television to complicate The Sopranos' (HBO, 1999-2007) psychological relationship with the 21st-century, neoliberal American audience. The Sopranos Experience explicates how wavering identifications and dis-identifications that develop for the spectator through the series' form and content draw the responsibility of an audience away from moral ultimatums that attempt to finalize their experience with the genre, and towards a more personal ethical entanglement with the characters and their socioeconomic anxieties and desires. The ethical entanglement highlighted by The Sopranos reveals an entanglement that has always existed for the gangster genre throughout its history that has been recognized, but not thoroughly explored by previous gangster scholarship.
Because of the The Sopranos' psychotherapy story arc through Tony's (James Gandolfini) relationship with Dr. Melfi (Lorraine Bracco), psychoanalysis plays a key role in the Sopranos Experience. The serial form and narrowcasting develop a more in-depth psychological relationship between the spectator and the characters than seen in previous gangster genre films. Through the psychoanalytic theory of Jean Laplanche, I argue the spectator's closer relationship with the series not only results in the spectator's constitution of self through the fictional characters, but that this constitution of self extends into their lived, everyday experiences with others.
In this discussion of the psychological connection between the spectator and the characters, their shared anxieties about and desires for socioeconomic stability in a neoliberal environment mobilizes the spectator's relationship not just with the series, but with others in their lives. In recognizing their atomized role in the viewership experience, The Sopranos allows the spectator to make ethical demands about their atomization and vulnerability in a neoliberal society. Because they can recognize the collective's similar situation, the spectator is situated to make larger demands about socioeconomic systems that atomize the individual.
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Murdock, Mark Cammeron. "In the company of cheaters or relativism in duels : how sixteenth-century aristocrats resemble twentieth-century gangsters in French literature and film /." Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd2978.pdf.
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Williams, Sally Tatham Robertson. "Between a rock and hard place : space, gender and hierarchy in British gangland film." Thesis, University of Hertfordshire, 2011. http://hdl.handle.net/2299/5555.
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A principal aim of this research has been to establish the capacity of British Gangland film to articulate its era of production through the cinematic interpretation of contemporary concerns and anxieties in narratives relating to the criminal underworld. In order to do so, the study has concentrated on the analysis of space, gender and hierarchy within representative generic texts produced between 1945 and the present. The thesis is divided into three sections: the first offers a general overview of British Gangland film from the 65 years under discussion with the aim of identifying recurring generic patterns and motifs. The second and third sections are more specifically focused, their chapters examining the narrative significance and development of the male and the female protagonist respectively. Within the films under discussion, the relationship between these protagonists and their environment represents a fundamental generic component, resulting in an emphasis on space and place. Space within these narratives is inherently territorial, and thus irrevocably bound up with hierarchies of power. The predominantly urban locations in which the narratives are set represent a twilight world, a demi-monde, which is rarely neutral but dominated by the patriarchal order structuring the notion of ‘Gangland’. Such spaces are therefore inextricably linked with gender, hierarchy, and dynamic power relations. Whilst it would have been possible to explore each of these areas in isolation through specifically relevant theoretical perspectives, their interdependence is central to this study. Consequently, a holistic theoretical approach has facilitated analysis of the symbiotic relationship between the three key elements of space, gender and hierarchy and the processes involved in the generation of meaning: this has resulted in a reading of British Gangland film as cultural artefact, reflecting its circumstances of production.
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Paterson, Moya Colleen. "The linguistic markers of the language variety spoken by gang members on the Cape Flats, according to the film Dollars and White Pipes." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/20450.
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Thesis (MPhil)--University of Stellenbosch, 2008.ENGLISH ABSTRACT: The non-standard “way of speaking” associated with gang members on the Cape Flats is the focus of the present study. This thesis is not about gangsters and gang culture, neither is it an attempt to analyze their use of language. Rather, it is an investigation of the linguistic markers of the language variety spoken by gang members on the Cape Flats, according to the film Dollars and White Pipes. This film portrays the true story of Bernie Baatjies and is set in Hanover Park, an area on the Cape Flats characterized by a high level of unemployment and low levels of education. During the Apartheid years, people of colour all over Cape Town were displaced: they were forced to move to barren land and start rebuilding their lives all over again. The youth perceived their parents as cowards for not fighting back against the system. Their anger with their parents led to the formation of gangs on the Cape Flats. These gangs resort to violence, using it as a means of dominating others and showing power through claiming territory. Gang members establish in-group distinctiveness through speech divergence. In this thesis, the notion of establishing membership of a specific linguistic community, in this case gang membership, by means of vocabulary use is examined with reference to concepts such as slang, anti-language and social judgments based on linguistic aspects. It is shown that the linguistic repertoire of the Cape Flats gangsters as a speech community can broadly be categorised as non-standard Afrikaans, non-standard English and English-Afrikaans code switching. In order to examine the linguistic markers of the language variety spoken by gang members on the Cape Flats, utterances in the film that were judged non-standard were transcribed orthographically. The standard version of each utterance was also identified. Non-standard words and phrases were then grouped according to language and parts of speech. These non-standard words and phrases were in turn presented to real–life gangsters from the Cape Flats in order to obtain judgements on their authenticity. Research approaches and methods drawn on in the thesis are Critical Discourse Analysis (CDA) and Discourse Analysis (DA), both of which are briefly discussed.
AFRIKAANSE OPSOMMING: Die nie-standaard “manier van praat” wat geassosieer word met bendes op die Kaapse Vlakte is die fokus van hierdie studie. Hierdie tesis handel nie oor bendes en die bendekultuur nie en is ook nie ʼn poging om hul gebruik van taal te analiseer nie. Dit is eerder ‘n beskrywing van die linguistiese merkers van die taalvariëteit wat deur bendes op die Kaapse Vlakte gepraat word, volgens die rolprent Dollars and White Pipes. Hierdie rolprent is die ware verhaal van Bernie Baatjies en speel af in Hanover Park, ‘n area van die Kaapse Vlakte gekenmerk deur ‘n hoë vlak van werkloosheid en lae vlakke van opvoeding. As gevolg van Apartheid is mense van kleur regoor Kaapstad verplaas: hulle is forseer om na dor land te verskuif en om hul lewens van oor af op te bou. Die jeug het hul ouers gesien as lafaards omdat hulle nie terug baklei het teen die stelsel nie. Hulle woede teenoor hulle ouers het gelei tot die vorming van bendes op die Kaapse Vlakte. Hierdie bendes het hulle gewend na geweld. Geweld is gebruik in ʼn poging om andere te domineer en om mag ten toon te stel in die aanspraak op gebied. Bendelede bewerkstellig spraak uiteenlopenheid as ʼn metode om in-groep onderskeibaarheid daar te stel. In hierdie tesis word die idee van bewerkstelliging van lidmaatskap van ʼn spesifieke linguistieke gemeenskap, in hierdie geval bendelidmaatskap, by wyse van die woordeskat wat hulle verkies om te gebruik, bekyk met verwysing na konsepte soos groeptaal, anti-taal en sosiale oordeel gebaseer op linguistieke aspekte. Daar word gewys dat die linguistiese repetoire van die bendes van die Kaapse Vlakte as spraakgemeenskap, gekategoriseer kan word as nie-standaard Afrikaans, nie-standaard Engels en Afrikaans-Engels kodewisseling. Om die linguistiese merkers van die taalvariëteit wat deur bendes op die Kaapse Vlakte gepraat word te bekyk, is uitings in die rolprent wat nie-standaard ge-ag is, ortografies getranskribeer. Die standaard weergawe van die uitings is ook geïdentifiseer. Nie-standaard woorde en frases is gegroepeer volgens taal en woordsoorte. Hierdie nie-standaard woorde en frases is aan werklike bendelede van die Kaapse Vlakte voorgelê om betroubaarheidsoordele te verkry. Die navorsingsbenaderinge en metodes waarop gefokus is, is Kritiese Diskoers Analise (KDA) sowel as Diskoers Analise (DA), wat beide kortliks bespreek word.
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Balso, André. "Robert RYAN ou la fureur souterraine : jeu d'acteur d'une "non-star" hollywoodienne." Thesis, Normandie, 2018. http://www.theses.fr/2018NORMC008/document.
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Robert Ryan (1909-1973) était de ces acteurs qui ne furent jamais starifiés. Pour autant, il ne resta pas non plus entièrement dans l’ombre de ses contemporains les plus reconnus. Rendu célèbre au cours de l’année 1947 par Crossfire (Feux croisés, Edward Dmytryk), il fut, depuis cette zone grise de la « non-starification », ce personnage de film noir à la fois névrosé et violent, tout aussi affirmatif que désorienté – mais pas uniquement. Aujourd’hui oublié comme la plupart des acteurs de cette catégorie, il apparut pourtant dans soixante-treize longs-métrages, parfois réalisés par des cinéastes de renoms tels que Jean Renoir, Nicholas Ray, Anthony Mann, Max Ophuls ou encore Fritz Lang, et sa carrière se prolongea au théâtre et à la télévision. En partant de quelques incarnations pour remonter vers ce qui faisait la singularité du jeu de Robert Ryan, puis en tentant d’inscrire l’acteur dans l’histoire esthétique du cinéma de son temps, le présent texte se penche sur l’un de ces Hollywood standby méconnus, qui firent pourtant office de matériaux essentiels aux films américains classiquesRobert Ryan (1909-1973) was one of those actors who never became a movie star. However, he was not completely in the shadow of his famous contemporaries. Celebrated for his part in Edward Dmytryk’s Crossfire (1947), he was this "non-star" actor playing neurotic, violent, affirmative and disorientated film noir characters, but he was not only that. If he has been forgotten today, like most actors of his kind, he nevertheless made seventy-three movies, sometimes directed by filmmakers such as Jean Renoir, Nicholas Ray, Anthony Mann, Max Ophuls or Fritz Lang, and he also had a career in theatre and television. Through the description of some of his roles, by analyzing the peculiarity of his acting style, and trying to place him within the aesthetic history of American cinema, the following text deals with one of those underrated "Hollywood standby", that were vital to the craft of American cinema
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Govender, Poobendran. "Exploring the South African gangster film genre prior and post liberation : a study of Mapantsula, Hijack Stories and Jerusalema." Thesis, 2011. http://hdl.handle.net/10413/7952.
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This dissertation is a study of the gangster film genre and how it has been used to represent
the sociopolitical and economic conditions of South Africa over an extended period of time.
Firstly, by looking at the early history of the influence of the gangster genre on South African
audiences, specifically the Sophiatown generation, a history of the genre being strongly
linked to sociopolitical conditions in South Africa is established. The project then focuses on
South African-made gangster films, beginning with Mapantsula (1988) and how it speaks to
the tumultuous times of the 1980s prior to liberation. It then proceeds to examine Hijack
Stories (2000) as a gangster film that represents South African society post-liberation. Lastly,
it examines Jerusalema (2008) as a recent example of the gangster film and its representation
of current issues, problems and tensions within South African society. The project delves into
the messages that the gangster genre in particular holds as a genre that is intimately linked to
social, economic and political conditions. The use of the genre as a tool to represent the
experiences of South Africans prior to and post liberation is of particular interest to this
research.
Introduction: Genre and the Gangster Film
This chapter attempts briefly to define genre in film studies, discuss how genres operate and
explore the importance of genre. It also offers an elaboration of the history of the gangster
film as well as discussion of the ideas of its three most significant theorists.
Chapter 1: The Hollywood gangster figure in Sophiatown
This chapter examines the influence of the Hollywood gangster figure on the audiences of
Sophiatown. It explores the emulation of the style, mannerisms and behavior of the cinematic
gangster by the residents of Sophiatown as a way of adopting a resistant urban identity in
opposition to the dominant ideology of the time. However, it is found that this resistance fails
to effectively become political in the form of an anti-government resistance. Chapter 1: The Hollywood gangster figure in Sophiatown
This chapter examines the influence of the Hollywood gangster figure on the audiences of
Sophiatown. It explores the emulation of the style, mannerisms and behavior of the cinematic
gangster by the residents of Sophiatown as a way of adopting a resistant urban identity in
opposition to the dominant ideology of the time. However, it is found that this resistance fails
to effectively become political in the form of an anti-government resistance.
Chapter 2: Mapantsula as Pre-liberation South African Gangster Film
This chapter explores the relationship between the ‘pantsula’ subculture and the cinematic
gangster and thereafter makes a case for how Mapantsula can be read as a gangster film.
Furthermore, it goes on to study how Mapantsula works within the gangster genre framework
looking at the politicization of Panic with a focus on pre-liberation South Africa.
Chapter 3: Hijack Stories as Post-liberation South African Gangster Film
This chapter examines Hijack Stories as a South African example of the gangster film by
firstly situating it within the genre and then examining how it functions as a post-liberation
South African gangster film around the period of its release. The gangster figure here is
linked to ideas of authenticity and black experience.
Chapter 4: Jerusalema as recent Post-liberation South African Gangster Film
This chapter examines how Jerusalema uses the conventions of the gangster genre to explore
current South African issues in particular, the tension between the ideology of capitalist
entrepeneurship and that of restitution and social justice. It goes on to then study how it
works as a post-liberation recent gangster film exploration of modern day South African
society.
Conclusion
This chapter briefly examines how the gangster film genre has survived in South Africa over
a long and shifting period of time and how it has spoken to different periods in South Africa’s
history through the films discussed in this research. The gangster figure starts as a resistant
figure in Mapantsula who slowly moves away from material pursuits and becomes
politicized. Thereafter in Hijack Stories, the gangster figure is used to explore issues of black
identity in the post-liberation period and to explore the growing divide between the recently
advantaged and the still disadvantaged black South African. Finally, Jerusalema uses the
gangster genre to stage the contradictions of the “South African Dream” and the lack of a
firm direction for South Africa as the ideologies of capitalism and social justice clash while
the period after the fall of an order leaves much in question as a nation finds its identity.Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2011.
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Lutge, Lance R. "Representing the 'black' male gangster: a comparative analysis of stereotypes in three South African films - Mapantsula (1988), Jerusalema (2008) and KZN ruins (2011)." Thesis, 2012. http://hdl.handle.net/10539/11145.
Full textAbstract:
M.A., Faculty of Humanties, University of the Witwatersrand, 2011The purpose of this study is to examine the representations of the ‘black’ South African male in the gangster genre and to focus on the representation of the 'black' male gangster role in the following case studies: Mapantsula (1988), Jerusalema (2008), and KZN Ruins (2011). In a South African context, the genre is embedded in social reform and ‘re-generation’, ‘dynamic anti-heroes’ or rebels pitted against the establishment, and transferred identities dependent on ‘gritty urban locales’, where the ‘black’ male characters escape social confines. A comparative analysis between three South African films: Mapantsula (1988), Jerusalema (2008) and my research film KZN Ruins (2011) evaluates the representation of the ‘black’ male gangster in terms of the stereotypical nature from which these cinematic representations derive their foci. This research report studies the representations evident in stereotyping the 'black' male gangster and examines how the terms ‘black’ gangster is contextualized within the medium of film. The representation of the 'black' male gangster in South Africa as subject matter constructs discourse around representations of ‘blackness’ spurred on by concretely identifiable contexts evident in the South African gangster genre. I have sectionalized the information surrounding this debate into three main categories that I felt would be most relevant and useful in the deconstruction: whether there has been a repositioning of the genre, whether this shift is evident in the representation of the 'black' male gangster and whether this representation of the ‘black’ male gangster in the medium of screen presentation in the South African case studies under scrutiny is contextually informed. Through genre, stereotyping, and South African film history I argue that there has been a shift in the representation of the 'black' male gangster within Mapantsula (1988), Jerusalema (2008), and my research film KZN Ruins (2011).
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Hamel, Louis-Philippe. "«Cool crime films» : tendance cool de la représentation de la criminalité dans le cinéma des années quatre-vingt-dix." Thèse, 2017. http://hdl.handle.net/1866/20169.
Full text
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CHEN, YING-CHIEN, and 陳盈蒨. "Female Audience’s Interpretation of the Ties of Brotherhood in the Gangster Film － The Movie “Monga” as an Example." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/457aup.
Full textAbstract:
碩士國防大學政治作戰學院
新聞碩士班
102
To movie itself, genre is a series of system of code, convention and visual style. Moviegoers have a given expectation about the plot, character traits and the ending when they are watching the movies. The gangster film features the fighting, violence, sex and delinquency as narrative elements to describe leading male’s traits and ignore female’s role in the movie. This study is trying to examine the effect between text and audience in the process of interpretation and to explore the female audience how they enjoy the fun from the gangster film and how they interpret the narrative text from the ties of brotherhood. The movie of Monga, as the research object and sample, uses Vladimir Propp’s theory of narrative to analyze the movie text and clarify the role function and gender image. This study interviews 14 females through the approach of an in-depth interview to analyze their motives and interpreting strategy in order to understand their different interpretation on the ties of brotherhood. Finally, this study will also inspect the relationship between the movie text, media environment and audience experience and background on the interpretation of gangster film. The research finds that the female audience will actively contain their own background and experience on the interpretation of the film. Yet they repeat their protestation of only receiving the information what the director sends and their interpretation of ties of brotherhood in the gangster film are classified in four groups: 1. Gangsters’ assertion that their fellowship is solid. 2. Some believe in a sense of gayness between Heshang and Zhilong. 3. Some of them keep in an ambiguous statement and open attitude. 4. Some think there is no real fellowship while their friendship breaks down in meeting with the conflict of their interests.