Relevant bibliographies by topics / Gangster genre

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Gangster genre'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

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Journal articles on the topic "Gangster genre"

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Nochimson, Martha P. "Waddaya Lookin' At?: Re-reading the Gangster Genre Through "The Sopranos"." Film Quarterly 56, no. 2 (2002): 2–13. http://dx.doi.org/10.1525/fq.2002.56.2.2.

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"Waddaya Lookin' At?" challenges both current thinking about the genre of the gangster film and simplistic moralizing about "The Sopranos." Establishing the gangster genre as one of five discrete categories of crime entertainment, Nochimson proposes that "The Sopranos" brings to the surface the moral dilemmas and emotional melodrama of the screen mobster that have hitherto been masked because of Production Code restrictions and macho evasions. Far from glamorizing gangsters and/or insulting Italian Americans, the series is founded on a sophisticated exploration of the gangster's charm. It prov
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Plaice, Mark R. "Domesticating gangsters? Home/work conflicts in South Korean family drama gangster film." East Asian Journal of Popular Culture 6, no. 2 (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 anx
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Munby, Jonathan. "Manhattan Melodrama's “Art of the Weak”: Telling History from the Other Side in the 1930s Talking Gangster Film." Journal of American Studies 30, no. 1 (1996): 101–18. http://dx.doi.org/10.1017/s0021875800024348.

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Ever since gangsters first appeared on the American screen (officially with D. W. Griffith's Musketeers of Pig Alley, in 1912) they have been involved in a prolonged battle with the forces of “legitimate” culture. Having fought their fights from the wrong side of the street gangsters have continually drawn attention to the line which separates legitimate from illegitimate Americans. This has raised problems in accounting for the gangster genre's significance. In stigmatizing the ethnic urban poor as criminal, the gangster genre betrays its origins in a nativist discourse which sought to cast “
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Zharikova, Vera Vasilyevna. "Crime Teenpic as a Subgenre of American Cinema." Journal of Flm Arts and Film Studies 6, no. 3 (2014): 104–13. http://dx.doi.org/10.17816/vgik63104-113.

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The article reviews film genres and the factors determining genre formation as exemplified by the subgenre of youth criminal drama. Like most genres, it appeared in the USA as an offshoot of the gangster film of the 1930s, on the one hand, and as a result of the emergence of youth subculture. The image of an adolescent criminal is still popular in both mass culture and auteur cinema.
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Antonijević, Dragana. "Američki gangster: „Crnački don“ kao socio-kulturna kontradikcija." Issues in Ethnology and Anthropology 12, no. 2 (2017): 311. http://dx.doi.org/10.21301/eap.v12i2.1.

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The paper analyzes the film American Gangster (2007), directed by Ridley Scott. The film tells the story of the life of the black gangster Frank Lucas, an extraordinary, intelligent and capable man. At the beginning of the paper I give a comment on the reasons for choosing this particular film, after that I give a diegesis of the film which includes a brief biography of Frank Lucas which represents one of the contexts for the analysis and the basic synopsis of the film. After this, a generic analysis is applied – it gives the most important elements of the gangster film genre and their brief h
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Keeton, Patricia. "The sopranosand genre transformation: Ideological negotiation in the gangster film." New Jersey Journal of Communication 10, no. 2 (2002): 131–48. http://dx.doi.org/10.1080/15456870209367425.

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Nick Heffernan. "Slum Plays, Salvation Stories, and Crook Pictures: The Gangster Regeneration Cycle and the Prehistory of the Gangster Genre." Film History 29, no. 2 (2017): 32. http://dx.doi.org/10.2979/filmhistory.29.2.02.

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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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Zhen, Jeremy. "The First Rule of Genre: Fight Club as a Neo-Gangster Film." Film Matters 8, no. 1 (2017): 18–21. http://dx.doi.org/10.1386/fm.8.1.18_1.

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Schneider, Hendrik, Hannah Beusch, Giulia Borsalino, Hans-Henning Gonska, and Johann Ostermiller. "Kriminalität, Recht und Justiz in den Texten des deutschsprachigen Gangster-Raps. Genre mit strafrechtlichem Gefährdungspotential?" Neue Kriminalpolitik 32, no. 1 (2020): 57–74. http://dx.doi.org/10.5771/0934-9200-2020-1-57.

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Deutschsprachiger Gangster-Rap dominiert die Musik-Charts und ist insbesondere bei Jugendlichen beliebt. Die Texte handeln in einer bisher in der deutschen Unterhaltungsmusik nicht dagewesenen Intensität von Straftaten, Gewalt und Misogynie. Die Kriminologie hat sich diesem Phänomen bislang noch nicht ausreichend angenommen. Dies gilt sowohl für die Bezüge zu den kriminologischen Theorien, als auch für die Erforschung der Wirkungen auf die Rezipient*innen. Auf diese Lücken im Forschungsstand ist der vorliegende Beitrag bezogen.
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Dissertations / Theses on the topic "Gangster genre"

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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 character
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Carpenter, Mark Peter. ""Uneasy lies the head that wears the crown" the gangster genre, Shakespearean tragedy, and the Godfather trilogy /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ27330.pdf.

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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 i
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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, an
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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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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
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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 cinéast
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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
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Books on the topic "Gangster genre"

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Jordan, Jade. Gangster genre: Contemporary film and Las Vegas city. LCP, 2002.

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Gopalan, Lalitha. Cinema of interruptions: Action genres in contemporary Indian cinema. British Film Institute, 2002.

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Cinema of interruptions: Action genres in contemporary Indian cinema. British Film Institute, 2002.

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Miklitsch, Robert. The Woman on Pier 13. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040689.003.0002.

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Part one of this chapter examines the production history of The Woman on Pier 13 to highlight the ideological mutability of the film’s ostensible, “right-wing” agenda, one endorsed by RKO’s head of production at the time, Howard Hughes. Part two aims to counter the claim that the anticommunist noir is without aesthetic interest by proffering a close textual analysis of a number of noir sequences in The Woman on Pier 13. Part three argues that--as the film’s original title, I Married a Communist, indexes--the political discourse of anticommunism cannot be divorced from questions about genre (me
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Gopalan, Lalitha. Cinema of Interruptions: Action Genres in Contemporary Indian Cinema. Oxford University Press, 2003.

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Gopalan, Lalitha. Cinema of Interruptions: Action Genres in Contemporary Indian Cinema. British Film Institute, 2002.

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Gopalan, Lalitha. Cinema of Interruptions: Action Genres in Contemporary Indian Cinema. British Film Institute, 2002.

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The Geto Boys. 2016.

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Book chapters on the topic "Gangster genre"

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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. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-90134-3_3.

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Martynuska, Małgorzata. "Ethnic Conflicts in Urban Landscape: Irish-American Representations in the Gangster Film Genre, 1990–2010." In Racial and Ethnic Identities in the Media. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-56834-2_10.

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"THE SOPRANOS und die Genre-Tradition(en)." In Gangster Melodrama. transcript-Verlag, 2011. http://dx.doi.org/10.14361/transcript.9783839418437.31.

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"THE SOPRANOS und die Genre-Tradition(en)." In Gangster Melodrama. transcript Verlag, 2011. http://dx.doi.org/10.1515/transcript.9783839418437.31.

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Tapper, Michael. "Stockholm Noir: Neoliberalism and Gangsterism in Easy Money." In Nordic Genre Film. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748693184.003.0008.

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The gangster story is a warped Horatio Alger tale. Carl Freedman notes that it connects to the mystery of the origins of capitalism in what Karl Marx called ‘primitive accumulation’, the consciously repressed history about how common lands and natural resources were privatised and how companies, backed up by national armed forces, plundered non-European continents of their riches. The greedy and ruthless gangster’s rise to social success is but a small-scale reflection of the genocides and the violent redistribution of wealth that gave birth to modern-day capitalism. Gangsterism is also the ultimate expression of what the German sociologist Ferdinand Tönnies called Gesellschaft. While his other key concept Gemeinschaft describes the ‘natural’ personal relations and values often found in rural communities, Gesellschaft stands for the ‘constructed’ impersonal relations through business and formal interaction that characterise life in the urban capitalist era. As national identity became a central issue in twentieth-century Europe – Fascism being the most extreme ideological project – gangsters and other social, legal and moral transgressors were often defined in popular culture as an alien intrusion of an otherwise idyllic Gemeinschaft.
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"6. The Gangster Film: Genre and Society." In Film Genre. Edinburgh University Press, 2019. http://dx.doi.org/10.1515/9781474470131-009.

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Reid, Mark A. "33. The Black Gangster Film." In Film Genre Reader IV. University of Texas Press, 2012. http://dx.doi.org/10.7560/742055-036.

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Warshow, Robert. "Chapter Nineteen. The Gangster as Tragic Hero." In Notions of Genre. University of Texas Press, 2016. http://dx.doi.org/10.7560/303757-021.

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Baxter, John. "Chapter Twenty-Three. Introduction to The Gangster Film." In Notions of Genre. University of Texas Press, 2016. http://dx.doi.org/10.7560/303757-025.

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Langford, Barry. "The Gangster Film: Genre and Society (2005)." In Crime and Media. Routledge, 2019. http://dx.doi.org/10.4324/9780367809195-31.

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