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Artículos de revistas sobre el tema "Criminalité au cinéma"

Autor: Grafiati
Publicado: 25 de julio de 2024
Última modificación: 31 de julio de 2025

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1

Larchet, Keltoume, and Aurélien Langlade. "La criminalité féminine : un objet criminologique." Cahiers de la sécurité et de la justice N° 59, no. 3 (2024): 112–22. https://doi.org/10.3917/csj.059.0112.

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La violence féminine est couramment minimisée et euphémisée [Cardi, Pruvost, 2011]. Certains parlent même de « tabou social » [Pegina, 2011]. Pourtant, selon une perspective historique, « les femmes apparaissent aussi comme des actrices de la violence » [Roussel, 2011]. Lorsque des actes criminels commis par des femmes sont envisagés, c’est le plus souvent sur le registre de la personnification, à travers la mobilisation de figures spécifiques, entre mythification et diabolisation. Si cela est particulièrement notable dans le domaine artistique (littérature, cinéma), on l’observe également dan
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2

HARDWICK, JOE. "What We Do in the Shadows: The Representation of Cruising in Three French Films." Australian Journal of French Studies 61, no. 4 (2024): 357–70. https://doi.org/10.3828/ajfs.2024.31.

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Sexual cruising—a practice often associated with men who have sex with other men in public spaces—has been written about from a number of disciplinary perspectives, including literature, literary and cultural studies, queer theory, geography and sociology. However, its representation in cinema is restricted to a small number of films and rarely has cruising in cinema been a focus of critical attention in its own right. This article will look at the changing functions of cruising in French cinema from the 1980s to the 2010s with a particular focus on three films: Patrice Chereau’s L’Homme bless
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3

Bauman, Rebecca. "‘Now you are one of us’: Mafia fashion on-screen." Film, Fashion & Consumption 11, no. 2 (2022): 155–68. http://dx.doi.org/10.1386/ffc_00045_1.

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This article examines the role popular media have played in disseminating images of mafia fashion. Through the representation of criminal apparel on-screen spectators are encouraged to identify with the societal transgressions of the mafioso, engendering an abiding fascination with mafia style. By looking at Italian and Italian American productions from early silent cinema through contemporary television crime series, menswear becomes a primary means of harnessing spectatorial desire and identification that embraces enduring associations that link southern Italian identity with criminality and
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4

Mututa, Addamms Songe. "Reductionism and post-apartheid culture: A critique of building hijacking in Gangsters Paradise: Jerusalema." Journal of African Cinemas 15, no. 1 (2023): 37–55. http://dx.doi.org/10.1386/jac_00088_1.

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Incidences of residential building hijacking which characterize post-apartheid Johannesburg have drawn debates from diverse fields of scholarship: anthropological, legal, social, literary and even cinema. Do they instantiate outright criminality, incomplete adjustment into the city, strategies for socio-economic restitution or acts of inverse racism? This article, an interdisciplinary probe into the representation of building hijacking in Ralph Ziman’s Gangsters Paradise: Jerusalema (2008), uses reductionism philosophy to theorize the practice as an actuation of eccentric post-apartheid cultur
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5

Boyce, Benjamin. "Lessons from Shawshank: Outlaws, Lawmen and the Spectacle of Punishment." Humanities 12, no. 1 (2023): 10. http://dx.doi.org/10.3390/h12010010.

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For more than a century, cinema has offered a rich source of images and narratives about crime and punishment. Unfortunately, the restricted nature of correctional environments and the social stigma surrounding incarceration leave most viewers reliant on media representations for the majority of their knowledge about correctional spaces. In most media representations of crime and punishment, outlaws and lawmen are reduced to stereotypical archetypes, and incarcerated characters are some of the evilest villains one will ever encounter. Moreover, the prison environment is painted as a playground
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6

Robinson, Amy. "Chucho el Roto in Mexico’s Post-1968 Cinema: Banditry, State-Sponsored Violence, and the Alternative National Family." Mexican Studies/Estudios Mexicanos 30, no. 2 (2014): 446–78. http://dx.doi.org/10.1525/msem.2014.30.2.446.

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Legendary bandit Chucho el Roto was portrayed by renowned actor Manuel López Ochoa in a film series made and released in the wake of violent repression of Mexico’s student movement. The four films provide entertainment with their charismatic leading man, melodrama, romance and comedy. Yet, the series also allegorizes and critiques Dirty War tactics employed in Mexico by portraying how the powerful abuse their authority to criminalize, imprison, torture and murder young idealists with an alternative vision for society. The popular figure of the bandit thus constituted a timely vehicle for criti
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7

Bonjour, Mini Mark. "Thuggee and Sati Revisited." Artha - Journal of Social Sciences 15, no. 3 (2016): 21. http://dx.doi.org/10.12724/ajss.38.2.

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Films on Indian themes made by western filmmakers have often been ridden with stereotypes and clichés. The wave of Raj films that came out of British and American production companies in the years since India‟s independence have largely been nostalgia-driven, and they almost invariably end up exoticising the region. However, with regard to films made by the nonHollywood film company named Merchant-Ivory Productions, audiences had come to expect more sophisticated and nuanced treatments of themes drawn from Indian history. This paper examines one of their films, The Deceivers, which deals with
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8

Kuznetsova, Yulia A., and Nadezhda A. Kalmazova. "Representation of the concept 'thief' in the modern mass media." Verhnevolzhski Philological Bulletin 1, no. 24 (2021): 74–80. http://dx.doi.org/10.20323/2499-9679-2021-1-24-74-80.

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The main purpose of the article was to study the representation of the concept 'thief' in the language of Russian mass media. This concept is important for both national and scientific legal concept spheres. The appeal to journalistic texts is due to the fact that they quickly reflect the main characteristics of the current state of mass consciousness and manifest its key stereotypes. The analysis was carried out in accordance with the main task of the study: to identify the key features of the concept represented in the media. In the course of the study, information from the newspaper subcorp
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9

LEVET, Natacha. "Urban Space in Sorogoyen cinema: a Political Deframing of the Gaze." Les espaces urbains dans les fictions criminelles espagnoles : (dé)cadrer la ville à l’écran et en bande dessinée, no. 4 (January 5, 2024). http://dx.doi.org/10.25965/flamme.1202.

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La production de Rodrigo Sorogoyen investit l’espace urbain madrilène dans un cinéma de genre – le néo-noir espagnol – qui en fait non seulement un terrain d’exploration de la criminalité contemporaine mais aussi une métonymie des dysfonctionnements sociaux et politiques de l’Espagne. Le réalisateur use de la tension entre cadrages et décadrages pour déplacer l’attention du spectateur, et charger l’intrigue criminelle de ses films d’une analyse politique, les deux se rejoignant finalement dans le cadre urbain de la caméra. Trois films ou séries seront le support de cette étude : Que Dios nos p
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10

"The death penalty in American cinema: criminality and retribution in Hollywood film." Choice Reviews Online 52, no. 03 (2014): 52–1315. http://dx.doi.org/10.5860/choice.186086.

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11

Ongiri, Amy Abugo. "Black “Crime,” Public Hysteria, and the Cinema of Containment: Black Cinema Aesthetics from Willie Dynamite to The Interrupters and a/k/a Mrs. George Gilbert." Journal of Foreign Languages and Cultures 5, no. 1 (2021). http://dx.doi.org/10.53397/hunnu.jflc.202101003.

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This essay will explore the ways in which African American visual culture has attempted to negotiate criminalization and the current situation of what Richard Iton rightfully characterizes as “hyperincarceration.” It will explore the ways in which contemporary African American visual culture is engaged in negotiating between the literal material realities and consequences of mass incarceration and aesthetic constructions of violence. While mass incarceration is increasingly becoming understood as “the New Jim Crow” for African American political organizing, Black criminality has become the key
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12

Pereira de Souza, Fabiano. "Dogma, tabu, pânico moral." RELACult - Revista Latino-Americana de Estudos em Cultura e Sociedade 11 (April 13, 2025). https://doi.org/10.23899/6hv4yg38.

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The soap operas Pecado mortal (2013-2014), by Alexandre Avancini, and Topíssima (2019), by Rudi Lagemann, from TV Record, A dona do pedaço (2019), by Amora Mautner, from TV Globo, as well as in cinema O filme dos espíritos (2011), by André Marouço and Michel Dubret, As mães de Chico Xavier (2011), by Glauber Filho and Halder Gomes, and Deixe-me viver (2016), by Clóvis Vieira, form a group of productions that addressed the controversial and avoided topic of abortion over the past decade. The comparative analysis of these productions in the face of a historical contextualization exposes the clos
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13

A.Wilson, Jason. "Performance, anxiety." M/C Journal 5, no. 2 (2002). http://dx.doi.org/10.5204/mcj.1952.

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In a recent gaming anthology, Henry Jenkins cannot help contrasting his son's cramped, urban, media-saturated existence with his own idyllic, semi-rural childhood. After describing his own Huck Finn meanderings over "the spaces of my boyhood" including the imaginary kingdoms of Jungleoca and Freedonia, Jenkins relates his version of his son's experiences: My son, Henry, now 16 has never had a backyard He has grown up in various apartment complexes, surrounded by asphalt parking lots with, perhaps, a small grass buffer from the street… Once or twice, when I became exasperated by my son's consta
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14

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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15

Brammer, Rebekah. "Dark Laughs." M/C Journal 28, no. 1 (2025). https://doi.org/10.5204/mcj.3152.

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Introduction: From Classic Noir Parody to Aussie Comedy Noir However you choose to identify noir – as a genre, style, or cycle – over its 80 years from classic American film noir to neo-noir, neon-noir, national noirs, and television noir, it has undeniably seeped into popular culture. Exemplary of this is the way noir has hybridised with other genres and styles, true of comedy as much as its more serious pairings with science fiction, Western, and Gothic. This is not a new phenomenon: Sue Short points out that pastiche noir began appearing at the end of the classic cycle, citing Kiss Me Deadl
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