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Relevant bibliographies by topics / Gangsters in popular culture Gangsters

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Academic literature on the topic 'Gangsters in popular culture Gangsters'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Gangsters in popular culture Gangsters"

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Hidayatullah, Danial. "MASKULINITAS, KEKERASAN, DAN NEGARA DALAM THE RAID: REDEMPTION." Adabiyyāt: Jurnal Bahasa dan Sastra 12, no. 2 (2013): 229. http://dx.doi.org/10.14421/ajbs.2013.12201.

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Contestation of dominant masculinity in Indonesian Popular Culture influenced by the New Order can still be seen in its cinematic production. The legacy of The New Order echoes through themes of state’s violence and masculinity. The Raid: Redemption, as a huge international success, depicting vulgar violence done both by the state and the gangsters is very important to be analyzed. As the form of collective dreams, the contestation of masculinity and violence of the state and the gangster in the movie reflects the real social condition. Through historical perspective the state and the gangster

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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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3

Hastie, Alex. "Popular postcolonial masculinities: gangsters and soldiers in Maghrebi-French cinema." Gender, Place & Culture 27, no. 2 (2019): 153–74. http://dx.doi.org/10.1080/0966369x.2019.1596884.

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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 cel

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Pablo Setton, Román. "Monte criollo y Palermo. Cruce entre películas de gangsters, film noir y el imaginario del criollismo tanguero." Arte y Políticas de Identidad 13, no. 13 (2016): 251. http://dx.doi.org/10.6018/251001.

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El siguiente trabajo analiza las películas Monte criollo (1935) y Palermo (1937), de Arturo S. Mom como dos ejemplos de las primeras aproximaciones del cine argentino al género policial o crime film. En ese sentido, discutimos los modos en que estas películas trabajan, por un lado, con motivos del cine negro y de las películas de gangsters, es decir, los modelos del cine clásico hollywoodense y, por otro, cómo fusionan estas tradiciones con elementos propios de la cultura popular argentina contemporánea, los imaginarios del tango y del criollismo. A partir de esa fusión, algunos elemen

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Esherick, Joseph W. "Street Culture in Chengdu: Public Space, Urban Commoners, and Local Politics, 1870–1930. By Di Wang. [Stanford: Stanford University Press, 2003. 376 pp. £48.50. ISBN 0-8047-4778-4.]." China Quarterly 180 (December 2004): 1112–13. http://dx.doi.org/10.1017/s0305741004330766.

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The last 15 years have witnessed a small flood of books on the physical, political, social and cultural transformation of the modern Chinese city covering paved streets and sewers, rickshaws and streetcars, public parks and meeting halls, monuments and museums, theatres and markets, police and gangsters, municipal government and public hygiene, bankers and businessmen, factories and publishing houses, newspapers and movies, law suits and protests, workers, students and prostitutes. Most of this literature has focused on the coastal cities (especially Shanghai), and the approach has usually bee

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Dziewanski, Dariusz. "Femme Fatales: Girl Gangsters and Violent Street Culture in Cape Town." Feminist Criminology 15, no. 4 (2020): 438–63. http://dx.doi.org/10.1177/1557085120914374.

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This article examines the ways that 21 girl gangsters perform violent street culture in Cape Town, South Africa. It examines their participation in the city’s township gangs, with a particular focus on female involvement in gang-related acts of aggression and violence. Research looks to move beyond portrayals of girl gangsters in Cape Town as either victims or accessories. It shows how they leverage street cultural performances in reaction to intersectional oppression, and in an attempt to empower themselves. Young women in this study joined gangs and took part in violence for many of the same

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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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Ilan, Jonathan, and Sveinung Sandberg. "How ‘gangsters’ become jihadists: Bourdieu, criminology and the crime–terrorism nexus." European Journal of Criminology 16, no. 3 (2019): 278–94. http://dx.doi.org/10.1177/1477370819828936.

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A background in ‘ordinary’ crime, violence and drug use seems to characterize many European individuals recently involved in ISIS-related jihadi violence. With its long tradition of studying marginalized populations and street culture, criminology offers novel ways to explore these developments theoretically. In this article, we demonstrate how Pierre Bourdieu’s concepts of capital, habitus and field allow for a nuanced analysis of how certain individuals move from street to politico-religious criminality. We show that ‘investments’ in street capital can be expended within the field of violent

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Gushue, Kelsey, Chelsey Lee, Jason Gravel, and Jennifer S. Wong. "Familiar Gangsters: Gang Violence, Brotherhood, and the Media’s Fascination With a Crime Family." Crime & Delinquency 64, no. 12 (2017): 1612–35. http://dx.doi.org/10.1177/0011128716686340.

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Media reports can have a significant and lasting impact on public perceptions about crime and criminals. Jonathan, Jarrod, and Jamie Bacon gained notoriety in Vancouver through substantial media coverage for their involvement in gang-related shootings and criminal activity. The present study examines how the media have portrayed the Bacon brothers and their importance in the region’s gang scene. We examine all articles published in the area’s largest newspaper, the Vancouver Sun, mentioning the Bacon family between 2008 and 2015 ( N = 401). Specifically, we explore the media’s depiction of the

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Dissertations / Theses on the topic "Gangsters in popular culture Gangsters"

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Kirby, Nicholas B. Plasketes George. "Humanizing the gangster an examination into the character from Hawks' to DePalma's Scarface /." Auburn, Ala, 2008. http://hdl.handle.net/10415/1543.

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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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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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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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Conway, Jordan A. "Living in a Gangsta’s Paradise: Dr. C. DeLores Tucker’s Crusade Against Gansta Rap Music in the 1990s." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3812.

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This project examines Dr. C. DeLores Tucker’s efforts to abolish the production and distribution of gangsta rap to the American youth. Though her efforts were courageous and daring, they were not sufficient. The thesis will trace Tucker’s crusade beginning in 1992 through the end of the 1990s. It brings together several themes in post-World War II American history, such as the issues of race, gender, popular culture, economics, and the role of government. The first chapter thematically explores Tucker’s crusade, detailing her methodology and highlighting pivotal events throughout the movement.

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Books on the topic "Gangsters in popular culture Gangsters"

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Inventing the public enemy: The gangster in American culture, 1918-1934. University of Chicago Press, 1996.

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Ruth, David E. Inventing the public enemy: The gangster in American culture, 1918-1934. University of Chicago Press, 1996.

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3

Buruma, Ian. Behind the mask: On sexual demons, sacred mothers, transvestites, gangsters, and other Japanese cultural heroes. New American Library, 1985.

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4

Danesi, Marcel. Geeks, goths, and gangstas: Youth culture and the evolution of modern society. Canadian Scholars Press, 2010.

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Das Regime und die Dandys: Russische Gaunerchansons von Lenin bis Putin. Rogner & Bernhard, 2010.

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Nuthin' but a "G" thang: The culture and commerce of gangsta rap. Columbia University Press, 2005.

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7

Robb, Brian J. A Brief History of Gangsters. Running Press Adult, 2015.

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8

(Firm), Life Books, ed. Mobsters and gangsters: Organized crime in America, from Al Capone to Tony Soprano. Life Books, 2002.

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9

Pop Culture and the Dark Side of the American Dream: Con Men, Gangsters, Drug Lords, and Zombies. University Press of Kentucky, 2019.

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10

Farrell's Irish Papers. World Audience, New York, New York, USA, 2010.

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Book chapters on the topic "Gangsters in popular culture Gangsters"

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Farrant, Finola. "Outlaws and Gangsters." In Crime, Prisons and Viscous Culture. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-49010-0_4.

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

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

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Springhall, John. "Gangster Film Panic: Censoring Hollywood in the 1930s." In Youth, Popular Culture and Moral Panics. Macmillan Education UK, 1998. http://dx.doi.org/10.1007/978-1-349-27458-1_5.

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Hensley-King, Robert. "Incarceration as a Dated Badge of Honor: The Sopranos and the Screen Gangster in a Time of Flux." In The Palgrave Handbook of Incarceration in Popular Culture. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-36059-7_21.

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Beumers, Birgit. "Killers and Gangsters: the Heroes of Russian Blockbusters of the Putin Era." In Media, Culture and Society in Putin’s Russia. Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230583078_10.

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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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Fisher, Austin. "Nostalgic Gangsters and the Mafia Filone." In Blood in the Streets. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474411721.003.0004.

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This chapter examines a filone of mafia films that proliferated in Italy between 1972 and 1974, and analyses how they inherit, recycle and perpetuate a number of pre-existing popular myths that frame the mafia as a repository for elegiac nostalgia. Transatlantic myths that crystallised in The Godfather are themselves shown to emerge from traditions of representation and stereotyping, in which the mafia film has always acted as a chronicle of cultural displacement. The Italian mafia film, meanwhile, is shown to be a component part of a broader tendency to stereotype the 'backward' southern regions of Italy as a window into the nation's history and a forum for taking stock of the contemporary moment in relation to a benighted past. The mafia filone of 1972-1974 is thereby seen to be an illuminating document of production decisions, marketing ploys and ruminations on the state of contemporary Italy.

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Geczy, Adam, and Vicki Karaminas. "Gangstas." In Fashion and Masculinities in Popular Culture. Routledge, 2017. http://dx.doi.org/10.4324/9781315620657-9.

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"The gangster film." In An Introduction to Studying Popular Culture. Routledge, 2014. http://dx.doi.org/10.4324/9781315005768-9.

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