Relevant bibliographies by topics / Gangsters in fiction

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Academic literature on the topic 'Gangsters in fiction'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 January 2023

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Journal articles on the topic "Gangsters in fiction"

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Stovba, Ganna. "OVERCOMING THE BOUNDARIES OF EVERYDAYNESS IN NIALL GRIFFITHS`S NOVEL «STUMP»." CONTEMPORARY LITERARY STUDIES, no. 18 (December 13, 2021): 121–27. http://dx.doi.org/10.32589/2411-3883.18.2021.247004.

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The paper presents the research of poetics of the fourth novel «Stump» (2004) written by contemporary Welsh Anglophone author Niall Griffiths. The early works of Niall Griffiths have long been associated with the off-center tendency in contemporary British fiction, with novels written by Scottish authors such as Irvine Welsh, James Kelman, John King. This study attempts to demonstrate that Welsh writer doesn’t merely articulate the problems of the fringe groups of the society as well as shocking and taboo topics. Also to overcome the common postcolonial approach to Griffiths`s works which focuses on the concepts of «colonial othering», «forms of disability» etc. in the novels, the author of the article proposes the existential philosophy as methodological basis for this research. The study concentrates over the central problem of the human Being-in-the-world, the human life in the world of everydayness in Griffiths`s novel «Stump». Understanding «the everyday life», «everydayness» as common, routine life, full of daily automatic human actions (according to B. Waldenfels) the author aims to consider the boundaries of everyday life and the experience of overcoming the borders of everydayness in the novel discussed.The analysis demonstrates that narrative structure of the novel combines several modes and forms of narration. Interior monologue with steam of consciousness fragments is the form of representing the first plot line focusing on the one day of nameless recovering alcoholic who has lost his left arm to gangrene. «Style indirect libre» in first person plural form is used to finish each of the chapter devoted to one-armed hero and expresses his contradictory point of view on the «12 steps addiction recovery» program. The non-diegetic impersonal narrator (according to V. Shmid classification) introduces the second plot line devoted to the two gangsters who have set out from Liverpool on a mission to find and punish the one-armed man for a past misdeed. Their continual dialog sometimes is interrupted by the omnipresent narrator voice who conveys in form of indirect speech one of the gangster`s thoughts and his perceptive and ideological «point of view». A Griffiths`s fictional space can be divided on close/open, secular/sacral, everyday/non-everyday types. In the novel Wales natural world is opposed to any closed and narrow spaces. One-armed protagonist fills himself free and happy in the open space, where he communicates with birds, animals and meets a pantheistic God. Oppositely, two gangsters are afraid of open space in the middle of dangerous nature of Wales, when they leave native Liverpool. Having the works of K. Jaspers and M. Merleau-Ponty as the basis for our research, we conclude that the body for one-armed hero is an existential and temporal border, which transforms each moment of his life into an endless «boundary situation» (germ. Grenzsituation, according to K. Jaspers). A journey to unknown Wales gives a start to personal transformations for one of the gangsters – Alastair. Crossing the geographical border becomes a time of «boundarysituation» in Alastair`s existence. Consequently, the motives of the real Being, existential self-identity, meeting with the transcendent are concerned with the experience of overcoming the everydayness, crossing its boundaries.
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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 (September 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 separates their publication. If, inMajor Gentl, West Africans have been exiled from the Web, the eponymous protagonist inRokouses networked access to interrupt neoliberal economic and social engineering underway in the global North. Through experiments in “genetic mutation”—a metaphor for cyborgian transformation from biological to networked existence—Roko hacks the evolutionary process and forces Africa’s voice into the digital sphere in an attempt to remedy that technology’s unequal distribution. In both novels, Laing indigenizes science fiction using a technique I refer to asjujutech—a hybrid of science fiction and African folk traditions. The resulting style identifies the ways the genre itself mutates and evolves as it escapes the gravity of its Euro-American roots. Laing’s decision to publishRokoelectronically further points to form following function, highlighting new avenues for the dissemination of experimental African works in underrepresented genres.
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Doss, Erika. "Imaging the Panthers: Representing Black Power and Masculinity, 1960s–1990s." Prospects 23 (October 1998): 483–516. http://dx.doi.org/10.1017/s0361233300006438.

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When the moviePantherpremiered in American theaters in May 1995, it introduced a whole new generation to the rhetoric and radical politics of the Black Panther Party of a quarter-century earlier. It also sparked fierce debate about Panther fact, Panther fiction, and the power of images. Former leftie David Horowitz, now the head of the neoconservative Center for Popular Culture in Los Angeles, took out an ad inDaily VarietycallingPanthera “two-hour lie.” Damning director Mario Van Peebles for glorifying the positive aspects of the black power movement — the children's breakfasts and sickle cell anemia tests the Panthers sponsored, for example — Horowitz warned that people “will die because of this film” and faxed a seven-page press release to the media condemning the Panthers as “cocaine-addicted gangsters who … committed hundreds of felonies.”
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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 (April 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 “hyphenated” Americans as “un-American” and in need of “ Americanization. ” Yet, as perhaps the most powerful vehicle for the nationalization and popularization of ethnic urban American life, the gangster genre overturned many aspects of its iniquitous origin, playing an important part in the re-writing of American history from the perspective (and, as I shall demonstrate, quite literally in the voice) of the ethnic urban lower class.This contradiction is characteristic of the dynamic and changing role American popular culture artifacts play in the mediation of the nation's history. Regardless of the poetic and ideological licence gangster fictions take with the very real socio-historical problems of the ethnic urban poor, the central conflict which informs these narratives remains the question of social, economic, and cultural exclusion.
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Keener, John F. "The Last Words of Dutch Schultz: Deathbed Autobiography and Postmodern Gangster Fiction." Arizona Quarterly: A Journal of American Literature, Culture, and Theory 54, no. 2 (1998): 135–63. http://dx.doi.org/10.1353/arq.1998.0005.

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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 brothers’ Oscar-winning Fargo. The movie is an interesting case study as it does not make use of any of the genres typical for film noir in its unadulterated form i.e. genres associated with film noir in its classical era. In Fargo, Joel and Ethan Coen skillfully combine elements of the detective story though not necessarily associated with hard-boiled fiction with crime shows, gangster movie with thrillers about psychopaths, comedy with tragedy and family drama with melodrama of mischance. The result remains the same — the world of Fargo stays noir, dark and pessimistic and permeated with the absurd.
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Song, Geng. "Masculinizing Jianghu Spaces in the Past and Present: Homosociality, Nationalism and Chineseness." NAN Nü 21, no. 1 (June 18, 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 spaces over time, this paper attempts to set the spatial politics of masculinity in Chinese culture in a historical context. It unravels its dynamic interrelations with the tropes of class and nation, from the hosting of outlaws in the traditional masterpiece Shuihu zhuan (Water margin) to the resurgence of jianghu images and imaginaries as a symbol of Chineseness in post-socialist film and television. It argues that the widely referenced relationship between civil (wen) and martial (wu ) values in imperial China describes only gentry-class masculinities. By contrast, jianghu spaces lie at the margins of society and so invite an alternative conceptualization of lower-class masculinities. In contemporary China, jianghu has come to symbolize a new mode of Chinese masculinity in the global age. It can refer not only to fictional spaces in the martial arts genre, but also to social spaces that cement the “Chinese-style” relationships and networks needed for success in the reform market.
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Kao, R., A. Rajagopalan, A. Beckett, A. Beckett, R. Rex, S. Shah, J. Waddell, et al. "Trauma Association of Canada Annual Scientific Meeting abstractsErythroopoietin resuscitated with normal saline, Ringer’s lactate and 7.5% hypertonic saline reduces small intestine injury in a hemorrhagic shock and resuscitation rat model.Analgesia in the management of pediatric trauma in the resuscitative phase: the role of the trauma centre.Multidisciplinary trauma team care in Kandahar, Afghanistan: current injury patterns and care practices.Does computed tomography for penetrating renal injury reduce renal exploration? An 8-year review at a Canadian level 1 trauma centre.The other side of pediatric trauma: violence and intent injury.Upregulation of activated protein C leads to factor V deficiency in early trauma coagulopathy.A provincial integrated model of improved care for patients following hip fracture.Sports concussion: an Olympic boxing model comparing sex with biomechanics and traumatic brain injury.A multifaceted quality improvement strategy to optimize monitoring and management of delirium in trauma patients: results of a clinician survey.Risk factors for severe all-terrain vehicle injuries in Alberta.Evaluating potential spatial access to trauma centre care by severely injured patients.Incidence of brain injury in facial fractures.Surgical outcomes and the acute care surgery service.The acute care general surgery population and prognostic factors for morbidity and mortality.Disaster preparedness of trauma.What would you like to know and how can we help you? Assessing the needs of regional trauma centres.Posttraumatic stress disorder screening for trauma patients at a level 1 trauma centre.Physical and finite element model reconstruction of a subdural hematoma event.Abdominal wall reconstruction in the trauma patient with an open abdomen.Development and pilot testing of a survey to measure patient and family experiences with injury care.Occult shock in trauma: What are Canadian traumatologists missing?Timeliness in obtaining emergent percutaneous procedures for the severely injured patient: How long is too long?97% of massive transfusion protocol activations do not include a complete hemorrhage panel.Trauma systems in Canada: What system components facilitate access to definitive care?The role of trauma team leaders in missed injuries: Does specialty matter?The adverse consequences of dabigatran among trauma and acute surgical patients.A descriptive study of bicycle helmet use in Montréal.Factor XIII, desmopressin and permissive hypotension enhance clot formation compared with normotensive resuscitation: uncontrolled hemorrhagic shock model.Negative pressure wound therapy for critically ill adults with open abdominal wounds: a systematic review.The “weekend warrior:” Fact or fiction for major trauma?Canadian injury preventon curriculum: a means to promote injury prevention.Penetrating splenic trauma: Safe for nonoperative management?The pediatric advanced trauma life support course: a national initiative.The effectiveness of a psycho-educational program among outpatients with burns or complex trauma.Trauma centre performance indicators for nonfatal outcomes: a scoping review.The evaluation of short track speed skating helmet performance.Complication rates as a trauma care performance indicator: a systematic review.Unplanned readmission following admission for traumatic injury: When, where and why?Reconstructions of concussive impacts in ice hockey.How does head CT correlate with ICP monitoring and impact monitoring discontinuation in trauma patients with a Marshall CT score of I–II?Impact of massive transfusion protocol and exclusion of plasma products from female donors on outcome of trauma patients in Calgary region of Alberta Health Services.Primary impact arthrodesis for a neglected open Weber B ankle fracture dislocation.Impact of depression on neuropsychological functioning in electrical injury patients.Predicting the need for tracheostomy in patients with cervical spinal cord injury.Predicting crumping during computed tomography imaging using base deficit.Feasibility of using telehomecare technology to support patients with an acquired brain injury and family care-givers.Program changes impact the outcomes of severely injured patients.Do trauma performance indicators accurately reflect changes in a maturing trauma program?One-stop falls prevention information for clinicians: a multidisciplinary interactive algorithm for the prevention of falls in older adults.Use of focused assessment with sonography for trauma (FAST) for combat casualties in forward facilities.Alberta All-terrain Vehicle Working Group: a call to action.Observations and potential role for the rural trauma team development course (RTTDC) in India.An electronic strategy to facilitate information-sharing among trauma team leaders.Development of quality indicators of trauma care by a consensus panel.An evaluation of a proactive geriatric trauma consultation service.Celebrity injury-related deaths: Is a gangster rapper really gangsta?Prevention of delirium in trauma patients: Are we giving thiamine prophylaxis a fair chance?Intra-abdominal injury in patients who sustain more than one gunshot wound to the abdomen: Should non-operative management be used?Retrospective review of blunt thoracic aortic injury management according to current treatment recommendations.Telemedicine for trauma resuscitation: developing a regional system to improve access to expert trauma care in Ontario.Comparing trauma quality indicator data between a pediatric and an adult trauma hospital.Using local injury data to influence injury prevention priorities.Systems saving lives: a structured review of pediatric trauma systems.What do students think of the St. Michael’s Hospital ThinkFirst Injury Prevention Strategy for Youth?An evidence-based method for targeting a shaken baby syndrome prevention media campaign.The virtual mentor: cost-effective, nurse-practitioner performed, telementored lung sonography with remote physician guidance.Quality indicators used by teaching versus nonteaching international trauma centres.Compliance to advanced trauma life support protocols in adult trauma patients in the acute setting.Closing the quality improvement loop: a collaborative approach.National Trauma Registry: “collecting” it all in New Brunswick.Does delay to initial reduction attempt affect success rates for anterior shoulder dislocation (pilot study)?Use of multidisciplinary, multi-site morbidity and mortality rounds in a provincial trauma system.Caring about trauma care: public awareness, knowledge and perceptions.Assessing the quality of admission dictation at a level 1 trauma centre.Trauma trends in older adults: a decade in review.Blunt splenic injury in patients with hereditary spherocytosis: a population-based analysis.Analysis of trauma team activation in severe head injury: an institutional experience.ROTEM results correlate with fresh frozen plasma transfusion in trauma patients.10-year trend of assault in Alberta.10-year trend in alcohol use in major trauma in Alberta.10-year trend in major trauma injury related to motorcycles compared with all-terrain vehicles in Alberta.Referral to a community program for youth injured by violence: a feasibility study.New impaired driving laws impact on the trauma population at level 1 and 3 trauma centres in British Columbia, Canada.A validation study of the mobile medical unit/polyclinic team training for the Vancouver 2010 Winter Games.Inferior vena cava filter use in major trauma: the Sunny-brook experience, 2000–2011.Relevance of cellular microparticles in trauma-induced coagulopathy: a systemic review.Improving quality through trauma centre collaboratives.Predictors of acute stress response in adult polytrauma patients following injury.Patterns of outdoor recreational injury in northern British Columbia.Risk factors for loss-to-follow up among trauma patients include functional, socio-economic, and geographic determinants: Would mandating opt-out consent strategies minimize these risks?Med-evacs and mortality rates for trauma from Inukjuak, Nunavik, Quebec.Review of open abdomens in McGill University Health Centre.Are surgical interventions for trauma associated with the development of posttraumatic retained hemothorax and empyema?A major step in understanding the mechanisms of traumatic coagulopathy: the possible role of thrombin activatable fibrinolysis inhibitor.Access to trauma centre care for patients with major trauma.Repeat head computed tomography in anticoagulated traumatic brain injury patients: still warranted.Improving trauma system governance." Canadian Journal of Surgery 55, no. 2 Suppl 1 (April 2012): s2—s31. http://dx.doi.org/10.1503/cjs.006312.

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Fraser, John. "Portals and Pulps: Orwell, Hoggart, “America,” and the Uses of Gangster Fiction." Transatlantica, no. 1 (June 19, 2012). http://dx.doi.org/10.4000/transatlantica.5727.

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Toh, Hai Leong. "Hana Bi." Kinema: A Journal for Film and Audiovisual Media, November 20, 2008. http://dx.doi.org/10.15353/kinema.vi.1188.

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Hana Bi (Fireworks, 1997). Japan. Dir: Takeshi Kitano. Cast: Takeshi Kitano, Kayoko Kishimoto, Ren Osugi, Susumu Terajima, Tetsu Watanabe, Hakuryu Minato-ku. After winning the Golden Lion at last year's Venice Film Festival, the elegiac and violent yakuza-cop film Hana-Bi (Fireworks) by Japanese director (Beat) Takeshi Kitano drew a full crowd at its preview at the Academy Theatre on a frosty morning in Pusan last October. The full house testified to the power of a Kitano film which now commands a loyal following verging on the fanatical. In fact, his films attract far more viewers than the cult films of Quentin Tarantino such as Reservoir Dogs and Pulp Fiction. Kitano's films are characterised by his uncanny ability to create, like in the eye of a storm, a quiet beginning which is suddenly whipped into a ferocious chain of events. However, they have none of the sadness of Hou Hsiao-hsien's landmark gangster...
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Dissertations / Theses on the topic "Gangsters in fiction"

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Dannhauser, Phyllis D. "Representation of Coloured identity in selected visual texts about Westbury, Johannesburg." Thesis, 2008. http://hdl.handle.net/10539/5837.

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In post-apartheid South Africa, Coloured communities are engaged in reconstructing identities and social histories. This study examines the representation of community, identity, culture and historic memory in two films about Westbury, Johannesburg, South Africa. The films are Westbury, Plek van Hoop, a documentary, and Waiting for Valdez, a short fiction piece. The ambiguous nature of Coloured identity, coupled with the absence of recorded histories and unambiguous identification with collective cultural codes, results in the representation of identity becoming contested and marginal. Through constructing narratives of lived experience, hybrid communities can challenge dominant stereotypes and subvert discourses of otherness and difference. Analysis of the films reveals that the Coloured community have reverted to stereotypical documentary forms in representing their communal history. Although the documentary genre lays claim to the representation of reality and authentic experience, documentary is not always an effective vehicle for the representation of lived experience and remembered history. Fiction can reinterpret memory by accessing the emotional textures of past experiences in a more direct way.
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Whelan, David. "Bood, a Novel." 2019. https://scholarworks.umass.edu/englmfa_theses/114.

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Books on the topic "Gangsters in fiction"

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Time gangsters. Springville, Utah: Sweetwater Books, 2012.

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Zimroth, Evan. Gangsters: A novel. New York: Crown Publishers, 1996.

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Simenon, Georges. Maigret and the gangsters. 4th ed. San Diego, USA: Harcourt Brace Jovanovich, 1986.

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Simenon, Georges. Maigret and the gangsters. Thorndike, Me: Thorndike Press, 1987.

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Simenon, Georges. Maigret, Lognon et les gangsters. [Paris]: Presses de la Cité, 1995.

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Tarantino, Quentin. Pulp fiction. London: Hollywood Scripts, 1993.

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Little ice cream boy. Johannesburg: Penguin, 2009.

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Magee, Patrick. Gangsters or guerrillas?: Representations of Irish Republicans in 'Troubles Fiction'. Belfast: Beyond the Pale, 2001.

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Rubin, Rachel. Jewish gangsters of modern literature. Urbana: University of Illinois Press, 2000.

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Gangsters at the Grand Atlantic. Middleton, Wis: American Girl, 2003.

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Book chapters on the topic "Gangsters in fiction"

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Nicholls, Mark. "The Machine Gun in the Violin Case: Martin Scorsese, Mean Streets and the Gangster Musical Art Melodrama." In Cross-Cultural Connections in Crime Fictions, 106–20. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137016768_8.

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Vyse, Stuart. "The Gangster Within." In The Uses of Delusion, 108–30. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780190079857.003.0008.

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People think of themselves as having consistent personalities, and they count on those around them to behave in predictable ways. Consistent with these assumptions, personality psychologists have discovered a number of stable traits that they suggest describe human personality. But much of social psychology demonstrates that people are profoundly affected by the situations they are placed in. People who seem incapable of cruelty and violence can be moved to do horrible things. As Hannah Arrendt suggested, evil is banal. This chapter argues that the continuity of personality is a delusion that people construct in order to trust others and negotiate the social world. A person’s moral behavior is the most important quality to establishing a relationship, and consistent moral behavior is a useful fiction.
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Gardaphe, Fred L. "Mafia stories and the American gangster." In The Cambridge Companion to American Crime Fiction, 110–20. Cambridge University Press, 2010. http://dx.doi.org/10.1017/ccol9780521199377.010.

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Hilliard, Christopher. "Protecting Literature, Suppressing Pulp." In A Matter of Obscenity, 61–87. Princeton University Press, 2021. http://dx.doi.org/10.23943/princeton/9780691197982.003.0004.

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This chapter focuses on protecting literature by suppressing pulp. After the war, the police, courts, and Customs contended with a growing market for pornographic magazines and dirty postcards, and with the moral threat presented by American pulp. A new generation of comic books from the United States resulted in new powers to confiscate printed matter, and American gangster fiction and knockoffs by British writers were subjected to serial prosecutions. The new regulations were put on hold when the government went into caretaker mode for the 1945 general election. The chapter also expounds on policing obscene publications in the post-war years.
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"Appetite for Destruction: Gangster Food and Genre Convention in Quentin Tarantino’s Pulp Fiction." In Reel Food, 194–207. Routledge, 2012. http://dx.doi.org/10.4324/9780203337233-18.

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"THE INSTABILITIES OF THE FRANCO-AMERICAN GANGSTER: Scarface to Pulp Fiction, Casino, Leon." In Undressing Cinema, 89–116. Routledge, 2012. http://dx.doi.org/10.4324/9780203132203-11.

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Ferraro, Thomas J. "The Carraway Confessional." In Transgression and Redemption in American Fiction, 143–65. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198863052.003.0007.

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Chapter 6 argues that the holy grail of Gatsby’s idolatrous love for Daisy, in F. Scott Fitzgerald’s The Great Gatsby, presents a profound challenge to the prepped and Ivied Midwestern Protestantism of Nick Carraway, who turns out to be an emotional exhibitionist not just an emotional voyeur. In “Absolution,” the story first intended as the novel’s first chapter, Fitzgerald establishes the theo-ontology of the gorgeous radiant lie, which because of its occasioned theatricality (witness critics Mitchell Breitwieser and Tracy Fessenden) courts ineffability, catechetical casuistry notwithstanding. To Nick, Jay Gatsby manifests a radiance that co-exists, somehow, with everything for which he has “unaffected scorn,” including nouveau-riche vulgarity, gangster-derived upper-class brutality, and delusional, out-sized masculine desire—for it calls, again mysteriously, to his homo-eros and own precarious class positioning (mirrored variously by the three women) and manifests itself in the tension between a Protestant transcendental “symbolist aesthetics” and a Catholic material sacramentality that descends even more directly from Hawthorne. In Nick’s literary confessional, the witness he bears to Gatsby’s “romantic readiness” is in itself more outrageously romantic still: that is, it is the testament of a seducee-convert to the passional incarnation of incommensurable love, as Marian Catholicism concentrates it, in the face of linen so dirty it can’t be laundered. At the last, what Nick has to confess is not his own myriad sexual and social foibles but rather a love for (the idol of Gatsby) so outsized and imminently felt it it courts, manifests, and arguably sanctions “an ineffably gorgeous lie.”
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Badley, Linda. "The Transnational Politics of Lars Von Trier’s and Thomas Vinterberg’s “Amerika”." In Nordic Film Cultures and Cinemas of Elsewhere, 244–60. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474438056.003.0019.

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This chapter explores a previously overlooked area in von Trier, Dogma95, and Vinterberg scholarship by investigating the industrial and aesthetic practices, generic elements, and themes that make up their collective “Amerika” elsewhere. Where the two Danish directors’ American references have often been passed off as auteurist provocations, this chapter addresses the tensions and contradictions between the films’ European locations and American settings and the discursive play between Scandinavian and European “art” cinema and American genres (the musical, the western, gangster, horror, and science-fiction/disaster film) to expose a counter-hegemonic transnational politics. Films under discussion, including Dancer in the Dark, Dogville, Manderlay Antichrist, Melancholia, It’s All about Love, Dear Wendy, are all set in an imagined USA, a country von Trier has never visited. Their settings are more often delocalized and blatantly mythical and inspired by a distantiated and critical, Kafkaesque and Brechtian, perspective – of “Amerika.”
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Cantor, Paul A. "Introduction." In Pop Culture and the Dark Side of the American Dream, 1–16. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813177304.003.0001.

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While acknowledging that the American dream does have a bright side, the introduction explains why we can learn more by examining the portrayal of its dark side in popular culture. Works like the Godfather films and Breaking Bad reveal the inner contradictions and tragic tensions in the American dream. The introduction offers an overview of the book and sketches the ways the chapters build on each other, developing a set of common themes, such as self-invention and imposture. All the works point to the western frontier as the mythical space for American self-fulfillment. The chapter discusses the Western as the archetypal American genre and traces the ways it migrates to other genres, such as science fiction and the gangster story. All these genres offer alternatives to the everyday middle-class world that popular culture normally mirrors, and thereby they raise questions about a narrowly middle-class conception of the American dream.
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Miklitsch, Robert. "Touch of Evil." In I Died a Million Times, 155–62. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043611.003.0007.

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If Touch of Evil (1958) touches on what the director, commenting on the film, calls the “abuse of police power,” this Orson Welles picture is especially pertinent in the context of the ’50s “bad cop” film, since despite the fact that it’s dominated by his performance as corrupt police captain Hank Quinlan, Touch of Evil is not customarily thought of as a rogue cop movie. Just as, say, Hitchcock’s Vertigo (1958) has transcended its generic status as a private-detective film, so too Touch of Evil--thanks to its extraordinary formal ingenuity and expressionist rhetoric as well as its investigation of the politics of race and sexuality, the law and the border--has long since transcended its origins in Whit Masterson’s pulp fiction, Badge of Evil (1956). Welles’s picture nevertheless remains a product of a particular cultural-historical moment in which it signifies, according to Jonathan Munby, the “end of the line” of gangster noir, as well as the “passing of two distinctive crime types”: “the femme fatale,” Tanya, and the “morally ambivalent rogue cop,” Hank Quinlan.
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