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Journal articles on the topic 'Gangster genre'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

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1

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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2

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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3

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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6

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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11

Żyto, Kamila. "Detours of absurdity: Coen brothers’ Fargo in the noir melting pot of genre patterns." Literatura i Kultura Popularna 24 (April 18, 2019): 39–54. http://dx.doi.org/10.19195/0867-7441.24.4.

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Detours of absurdity: Coen brothers’ Fargoin the noir melting pot of genre patternsThe idea of film noir, especially neo-noir, viewed as a stable and clear genre has as many supporters as detractors. The controversy is nothing new, and a compromise is still elusive. The reason for such an impasse is not merely the intransigent stance of opponents, the strength of their arguments, but is also a result of the hybridization of genres in main stream cinema and elsewhere. I discuss the problem presented by film noir in the context of the question of generic identity on the example of the Coen broth

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Laukkanen, Tatu-Ilari. "Shanghai gangster films and the politics of change." Novos Olhares 9, no. 1 (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

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Pozefsky, Peter. "Russian gangster films as popular history: genre, ideology and memory in Pavel Lungin'sTycoon." Studies in Russian and Soviet Cinema 2, no. 3 (2008): 299–325. http://dx.doi.org/10.1386/srsc.2.3.299_1.

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Todd, Drew. "Marked Woman (1937) and the dialectics of Art deco in the classical gangster genre." Film, Fashion & Consumption 1, no. 3 (2012): 305–23. http://dx.doi.org/10.1386/ffc.1.3.305_1.

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Lusvarghi, Luiza. "Law, Urban Violence and Order: Cop Shows as a Brazilian TV Genre." CINEJ Cinema Journal 3, no. 1 (2014): 107–25. http://dx.doi.org/10.5195/cinej.2013.83.

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A new type of Brazilian drama series has taken place on local TV - the cop shows. Although they are not popular as the telenovela (soap operas), definitively they came to stay. International channels like Fox and HBO are benefited by Tax Benefits Rule which provides financial conditions for the production of those home market, and are now competing with the two greatest media Brazilian groups – Record and Globo. The worldwide success of “Cidade de Deus” (City of God, 2002, Fernando Meirelles), released abroad like a gangster movie, and “Tropa de Elite” (Elite Squad, 2005, Jose Padilha), Berlin

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Goscilo, Helena. "Between the gangster and the country gentleman: Male fashion during the volatile 1990s." Critical Studies in Men???s Fashion 6, no. 1 (2019): 37–58. http://dx.doi.org/10.1386/csmf_00004_1.

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Official de-Sovietization during the chaotic 1990s ushered in ‘The New’ – ostensibly, a new sociopolitical and economic order, a new business vocabulary, the new word ‘rossiiane’ for Russian citizens, the New Russians and the new genre of male fashion. Much of the new, in fact, recuperated the pre-Soviet old, including appropriation of western styles in sundry walks of life. Within male fashion, sartorial choice signalled allegiance to the ‘new’ order, financial and social status, individualism or membership in various collectives. Glossies targeting a male readership served as both primers an

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SEGARAN, MIRUTHULA, SHARMINI GOPINATHAN, and JOANA JAYA. "THE IMPACT OF MEDIA VIOLENCE IN ACTION FILMS TOWARDS YOUTH’S PSYCHOLOGY AND BEHAVIOUR." International Journal of Creative Future and Heritage (TENIAT) 6, no. 2 (2018): 69–87. http://dx.doi.org/10.47252/teniat.v6i2.191.

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Malaysia is a melting pot of cultures and a country that consists of various ethnic groups and races that livetogether in the similar surroundings. However, the similarity between every race is that most individualsview action fi lms as merely a form of entertainment and get away from stress. Action fi lms have becomea popular genre among youngsters these days. The long hours of television viewing have contributedto this fact. Youngsters of the current generation are exposed to the negative eff ects of media violencein action movies due to their social activities in which they are consumed by

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Alvim, Luíza Beatriz. "Between genres and styles in the films of Robert Bresson." CINEJ Cinema Journal 5, no. 1 (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 gen

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HANSON, PHILIP. "The Arc of National Confidence and the Birth of Film Noir, 1929–1941." Journal of American Studies 42, no. 3 (2008): 387–414. http://dx.doi.org/10.1017/s0021875808005501.

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Early in the Great Depression, Gerald W. Johnson remarked on the “fathomless pessimism” that had overtaken the American People: “The energy of the country has suffered a strange paralysis … We are in the doldrums, waiting not even hopefully for the wind which never comes.” Film developments of the decade were entwined with the ongoing economic crisis. This article offers an analysis of the extreme shifts in confidence in this period and argues for their relationship with the evolution of film noir, which had its roots in two film genres prominent in the period, the gangster and fallen-woman fi

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Zakharov, Dmitriy Vladislavovich. "American cinema of the Great Depression. The «Social Restlessness Phase»." Journal of Flm Arts and Film Studies 5, no. 2 (2013): 17–32. http://dx.doi.org/10.17816/vgik5217-32.

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The article overviews the American cinema of the 1930 in terms of the “cyclic conception” stating that the life of American society is subject to a distinctive algorhithm of public mood: “social restlessness” alternating with “private interest”. The author surveys gangster film, one of the dominating genres of the Depression cinema as exemplified by “The Pubic Enemy (1931, dir. William A. Wellman). The article also traces the links of the “social restlessness” films of the 1930s with the previous and subsequent phases stressing the problem of dividing each phase into stages: formation, prime a

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MacDonald, Ian P. "“Let Us All Mutate Together”: Cracking the Code in Laing’sBig Bishop Roko and the Altar Gangsters." Cambridge Journal of Postcolonial Literary Inquiry 3, no. 3 (2016): 313–28. http://dx.doi.org/10.1017/pli.2016.15.

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Both Derek Wright and Francis Ngaboh-Smart have interpreted Laing’sMajor Gentl and the Achimota Wars(1992) as an allegory for the emergence of the Internet. In that novel, a future Africa has been digitally erased from the Web archive, and the story follows a civil war aimed at reintegrating the continent into the global scene. Beginning from this reading, I approach Laing’s next work,Big Bishop Roko and the Altar Gangsters(2006), as a formal sequel toMajor Gentl, investigating the changing landscape of global digital access and its potential as a site of resistance over the decade that separa

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Djavadzadeh, Keivan. "Les politiques « Chyennes1 » du rap féminin hardcore." Articles 27, no. 1 (2014): 183–200. http://dx.doi.org/10.7202/1025422ar.

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En 1991, Bytches With Problems (BWP), groupe de rap féminin hardcore, sort son unique album, The Bytches. Cet article se propose d’analyser les « politiques Chiennes » à l’oeuvre dans cet album. Il s’agit d’examiner comment des rappeuses ont investi un genre éminemment masculin, le gangsta-rap, et ont performé une image de féminité hors norme, celle de la « Chienne » (Bitch). En rejouant l’injure « chienne », en vidant ce mot de son pouvoir de blesser et en le dotant d’attributs « capacitants », les rappeuses ont donné à entendre un discours singulier et subversif dans le rap.

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Wells, Elizabeth A. "Expresso Bongo and Make Me an Offer: The ‘Angry Young Musical’ in the 1950s." Studies in Musical Theatre 14, no. 2 (2020): 163–73. http://dx.doi.org/10.1386/smt_00030_1.

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Following on from John Osborne’s infamous play Look Back in Anger of 1956, London’s stage saw the emergence of the ‘Angry Young Man’, realistic portrayals of working-class men in a difficult age. Expresso Bongo and Lily White Boys, works of the mid-to-late 1950s, demonstrate that the angry young man was also present in London’s musicals, previously an upper- and middle-class genre. Featuring the Soho district, gangsters, prostitutes and rock music, this unique era of musical theatre changed expectations of what musical theatre could and would offer to a jaded urban audience. These astonishing

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Paterson, Ronan. "Additional Dialogue by… Versions of Shakespeare in the World’s Multiplexes." Multicultural Shakespeare: Translation, Appropriation and Performance 10, no. 25 (2013): 53–69. http://dx.doi.org/10.2478/mstap-2013-0005.

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William Shakespeare has been part of the cinema since 1899. In the twentieth century almost a thousand films in some way based upon his plays were made, but the vast majority of those which sought to faithfully present his plays to the cinema audience failed at the box office. Since the start of the twenty-first century only one English language film using Shakespeare’s text has made a profit, yet at the same time Shakespeare has become a popular source for adaptations into other genres. This essay examines the reception of a number of adaptations as gangster films, teen comedies, musicals and

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Aleshi, Rowland U., and Clementina N. Iloh. "The Need for Theatre Arts Education in National Reformation." International Letters of Social and Humanistic Sciences 19 (December 2013): 208–16. http://dx.doi.org/10.18052/www.scipress.com/ilshs.19.208.

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This essay discusses the concepts of theatre arts and education, and the convergence of theatre arts education in national reformation. In-between cultural norms and religious values, the theatre artist as an evangelist can provide solutions to reform the declining morals and values of society. This crucial role of the theatre artist is what the author articulates and urges us to consider as an option to regain our country’s lost glory. The increasing threat of social degeneration and global insecurity calls for this genre to bring about peace, unity, prosperity and development in Nigeria. The

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Boyer, Holly. "The Alert Collector: Hip Hop in the United States." Reference & User Services Quarterly 55, no. 3 (2016): 215. http://dx.doi.org/10.5860/rusq.55n3.215.

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Hip hop is a ubiquitous part of American society in 2015—from Kanye West announcing his future presidential bid to discussions of feminism surrounding Nikki Minaj’s anatomy, to Kendrick Lamar’s concert with the National Symphony Orchestra, to Questlove leading the Tonight Show Band, hip hop has exerted its influence on American culture in every way and form.Hip hop’s origin in the early 1970s in the South Bronx of New York City is most often attributed to DJ Kool Herc and his desire to entertain at a party. In the 1980s, hip hop continued to gain popularity and speak about social issues faced

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Williams, Justin A. "The Construction of Jazz Rap as High Art in Hip-Hop Music." Journal of Musicology 27, no. 4 (2010): 435–59. http://dx.doi.org/10.1525/jm.2010.27.4.435.

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Multiple factors contributed to the elevation of jazz as "high art" in mainstream media reception by the 1980s. The stage was thus set for hip-hop groups in the late-1980s and early 90s (such as Gang Starr, A Tribe Called Quest, and Digable Planets) to engage in a relationship with jazz as art and heritage. "Jazz codes" in the music, said to signify sophistication, helped create a rap-music subgenre commonly branded "jazz rap." Connections may be identified between the status of jazz, as linked to a high art ideology in the 1980s, and the media reception of jazz rap as an elite rap subgenre (i

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Song, Geng. "Masculinizing Jianghu Spaces in the Past and Present: Homosociality, Nationalism and Chineseness." NAN Nü 21, no. 1 (2019): 107–29. http://dx.doi.org/10.1163/15685268-00211p04.

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Abstract Jianghu (rivers and lakes) refers to the imagined spatial arena in Chinese literature and culture that is parallel to, or sometimes in a tangential relationship with, mainstream society. Inhabited by merchants, craftsmen, beggars and vagabonds, and later bandits, outlaws and gangsters, the jianghu space constitutes an interesting “field” (to borrow Pierre Bourdieu’s term) that produces alternative subjectivities in traditional Chinese culture. In most representations, jianghu is primarily a homosocial world of men, which honors masculine moral codes. By tracing changes of jianghu spac

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Kubrin, Charis E. "“I See Death around the Corner”: Nihilism in Rap Music." Sociological Perspectives 48, no. 4 (2005): 433–59. http://dx.doi.org/10.1525/sop.2005.48.4.433.

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Rap is one of the most salient music genres of the late twentieth and early twenty-first centuries. Gangsta rap, in particular, with its focus on urban street life, has become a dominant means of expression within contemporary African American adolescent culture. As such, it speaks directly to issues of identity, culture, violence, and nihilism—themes that permeate recent research on inner-city black communities. Mostly ethnographic in nature, this work describes how structural disadvantage, social isolation, and despair create a black youth culture, or street code, that influences adolescent

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Mendus, Susan. "The Serpent and the Dove." Philosophy 63, no. 245 (1988): 331–43. http://dx.doi.org/10.1017/s0031819100043588.

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In his essay ‘The Simple Art of Murder’, Raymond Chandler describes the world of the American detective story as ‘a world in which gangsters can rule nations and almost rule cities, in which hotels and apartment houses and celebrated restaurants are owned by men who made their money out of brothels, in which a screen star can be the fingerman for a mob, and the nice man down the hall is a boss of the numbers racket; a world where a judge with a cellar full of bootleg liquor can send a man to jail for having a pint in his pocket, where the mayor of your town may have condoned murder as an instr

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Evans, Jabari. "‘We [mostly] carry guns for the internet’: Visibility labour, social hacking and chasing digital clout by Black male youth in Chicago’s drill rap scene." Global Hip Hop Studies 1, no. 2 (2020): 227–47. http://dx.doi.org/10.1386/ghhs_00019_1.

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Much negative attention has been given to the ‘drill’ music genre, a subgenre of gangsta rap that was born in Chicago’s underground hip hop scene in early 2010s. Previous scholarship has highlighted how social media has shifted how gang-affiliated youth in Chicago carefully manage their street reputations, communicate with peers and fuel gang rivalries through platformed creation. Yet still, in the context of drill, I argue that social media self-branding practices also provide these youth a way out of containment and sequestration to gain visibility in the music industry and empower their nei

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Ng, Yvonne. "Zhang Yimou's Shanghai Triad." Kinema: A Journal for Film and Audiovisual Media, September 22, 1998. http://dx.doi.org/10.15353/kinema.vi.867.

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Just when it seemed as if every variety of the gangster genre had been played out, Mainland Chinese director Zhang Yimou sprang a pleasant surprise with his film Shanghai Triad (Yao a yao yao dao wai po qiao, 1995). The film is probably the last collaboration between the director and Gong Li, the leading actress in all his previous films(1) and his off-screen partner until the completion of this film. Few gangster movies have been made in recent years that equal the film in its freshness, style, intelligence, sensual and lyrical beauty. However, in his interview with Zhang at the 1995 Cannes F

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Olszowska, Lara Hania. "From Hollywood mobster to Russian gangster: representations of mafia in Coppola’s Godfather trilogy and Balabanov’s Brother films." Slovo 35, no. 1 (2022). http://dx.doi.org/10.14324/111.444.0954-6839.1275.

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This study examines the changed mythology of crime in the Hollywood gangster genre resulting from new representations of mafia in Francis Ford Coppola’s Godfather trilogy. The trilogy will be viewed as a point of departure for new experimentations in the gangster genre in response to the Russian experience of mafia, namely in Aleksei Balabanov’s Brother film sequence. This analysis will discuss the key themes that appear in Coppola’s trilogy including family, masculinity, morality, and identity and consider the extent to which they either translate to or mutate in Balabanov’s sequence. This re

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Martynuska, Malgorzata. "Hyphenated Identity of Irish-Americans in Gangster Film Genre." Journal of Foreign Languages, Cultures and Civilizations 3, no. 2 (2015). http://dx.doi.org/10.15640/jflcc.v3n1a1.

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Martynuska, Malgorzata. "Hyphenated Identity of Irish-Americans in Gangster Film Genre." Journal of Foreign Languages, Cultures and Civilizations 3, no. 2 (2015). http://dx.doi.org/10.15640/jflcc.v3n2a1.

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Chen, Wei, Takeshi Nakamoto, and Juan Zhang. "The translation of extralinguistic cultural references in subtitling." Target. International Journal of Translation Studies, August 11, 2021. http://dx.doi.org/10.1075/target.20011.che.

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Abstract There has been substantial scholarly interest in extralinguistic cultural references (ECRs) in translation, especially in audiovisual translation (AVT). However, most scholars have investigated subtitling from English into other languages. Although China has a long tradition of film production, few studies have investigated the subtitling of ECRs from Chinese into English. This article attempts to remedy this by investigating the translation strategies, translation strategy distribution, and fidelity indexes of six subtitled versions of Chinese-language films. We compare our results w

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Beare, Alexander Hudson. "Prosthetic Memories in The Sopranos." M/C Journal 22, no. 5 (2019). http://dx.doi.org/10.5204/mcj.1586.

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In the HBO series The Sopranos, Tony and his friends use “prosthetic memories” to anchor their ethnic and criminal identities. Prosthetic memories were theorised by Alison Landsberg in her book Prosthetic Memory: The Transformation of American Remembrance in the Age of Mass Culture. She argues that prosthetic memories are memories acquired through the mass media and do not come from a person’s lived experience in any sense (Landsberg 20). In this article, I will outline how The Sopranos television show and its characters interact with prosthetic memories. Extending Christopher Kocela’s work on

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Ugolotti, Carlo. "Crimine organizzato e Big Business nel genere gangster hollywoodiano a partire dalla prima metà del Novecento." Diacronie, N° 39, 3 (October 29, 2019). http://dx.doi.org/10.4000/diacronie.12019.

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Szigeti, Balázs. "The Dialects of Sin in Shakespeare's Macbeth and Francis Ford Coppola's The Godfather Trilogy." AnaChronisT 14 (January 1, 2009). http://dx.doi.org/10.53720/oqut3998.

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Since its first performance in or around 1606, Shakespeare's Macbeth has been the target of a vast number of theatrical and cinematographic reproductions. This paper claims that, rather than giving its direct rereading, Coppola's The Godfather Trilogy applies the tragic mechanism of Macbeth and thus diverges from other types of gangster films. This is shown through the discussion of the consequences of sin and the problem of free will with respect to Macbeth, and the protagonist of the Godfather-saga, Michael Corleone. In both pieces, sin is interpreted as a work of art, which through its dire

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McNicol, Emma Jane Brosnan. "Gendered Violence as Revelation in John le Carré’s The Night Manager." M/C Journal 23, no. 4 (2020). http://dx.doi.org/10.5204/mcj.1665.

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Susanne Bier and David Farr’s 2016 television adaptation of John le Carré’s novel The Night Manager (“Manager”) indexes the resilience of traditional Christian misogyny in contemporary British-American media. In the first episode of the series, Sophie (Aure Atika)’s partner Freddie Hamid (David Avery) brutally beats her. In the subsequent scene, despite her scars, Sophie has a sex scene with the eponymous night manager Pine (Tom Hiddlestone). Sophie’s eye socket and the left side of her face bear fresh bruises and wounds throughout the sex scene. And in the sixth and final episode, Pine and Je

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Haupt, Adam. "Queering Hip-Hop, Queering the City: Dope Saint Jude’s Transformative Politics." M/C Journal 19, no. 4 (2016). http://dx.doi.org/10.5204/mcj.1125.

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This paper argues that artist Dope Saint Jude is transforming South African hip-hop by queering a genre that has predominantly been male and heteronormative. Specifically, I analyse the opening skit of her music video “Keep in Touch” in order to unpack the ways which she revives Gayle, a gay language that adopted double-coded forms of speech during the apartheid era—a context in which homosexuals were criminalised. The use of Gayle and spaces close to the city centre of Cape Town (such as Salt River and Woodstock) speaks to the city as it was before it was transformed by the decline of industr

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Brennan, Joseph. "Slash Manips: Remixing Popular Media with Gay Pornography." M/C Journal 16, no. 4 (2013). http://dx.doi.org/10.5204/mcj.677.

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A slash manip is a photo remix that montages visual signs from popular media with those from gay pornography, creating a new cultural artefact. Slash (see Russ) is a fannish practice that homoeroticises the bonds between male media characters and personalities—female pairings are categorised separately as ‘femslash’. Slash has been defined almost exclusively as a female practice. While fandom is indeed “women-centred” (Bury 2), such definitions have a tendency to exclude male contributions. Remix has been well acknowledged in discussions on slash, most notably video remix in relation to slash

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Taylor, Laurie. "Video Game Internal Turfs and Turfs of Play." M/C Journal 7, no. 2 (2004). http://dx.doi.org/10.5204/mcj.2346.

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Video games are predicated on representations of space, and those spaces are depicted and delimited by specialised visual markings that specify how the game can be played in those areas. For games to present a sense of space, they must display some sense of spatiality beyond that of merely virtualizing a simple game, in the way that puzzle and card games like Tetris and computerized Solitaire do. For games to present space, the games must contain immersive play environments. Many games present immersive environments for play and these spaces can come in many forms: from cityscapes to general p

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Haupt, Adam. "Mix En Meng It Op: Emile YX?'s Alternative Race and Language Politics in South African Hip-Hop." M/C Journal 20, no. 1 (2017). http://dx.doi.org/10.5204/mcj.1202.

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This paper explores South African hip-hop activist Emile YX?'s work to suggest that he presents an alternative take on mainstream US and South African hip-hop. While it is arguable that a great deal of mainstream hip-hop is commercially co-opted, it is clear that a significant amount of US hip-hop (by Angel Haze or Talib Kweli, for example) and hip-hop beyond the US (by Positive Black Soul, Godessa, Black Noise or Prophets of da City, for example) present alternatives to its co-option. Emile YX? pushes for an alternative to mainstream hip-hop's aesthetics and politics. Foregoing what Prophets

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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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