Bibliographies thématiques / Crime films – United States – History and criticism

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Littérature scientifique sur le sujet « Crime films – United States – History and criticism »

Auteur : Grafiati

Publié le 25 juillet 2024

Mis à jour le 31 juillet 2025

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Articles de revues sur le sujet "Crime films – United States – History and criticism"

Riabov, Oleg. "Gendering the American Enemy in Early Cold War Soviet Films (1946–1953)." Journal of Cold War Studies 19, no. 1 (2017): 193–219. http://dx.doi.org/10.1162/jcws_a_00722.

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Analyzing Soviet films and film criticism from the late Stalin period, this article shows how Soviet cinematographers exploited gender discourse to produce Otherness. Cinematic representations of U.S. femininity, masculinity, love, sexuality, and marriage played an important role in constructing external and internal Enemies. Cinematography depicted the U.S. gender order as resulting from the unnatural social system in the United States and as contrary to both the Soviet order and human nature. In line with the notion of “two different Americas,” the films also created images of “good American

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Gough, Charlotte. "Another man’s memories: Masculine trauma and Satanic Panic in The Believers (1987) and Angel Heart (1987)." Horror Studies 13, no. 2 (2022): 193–208. http://dx.doi.org/10.1386/host_00054_1.

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Focusing on The Believers (1987) and Angel Heart (1987), this article examines how occult crime is framed through the central male protagonists’ fragmented subjectivity in the respective investigation narratives. Through close analysis of the films’ shared cinematic languages of horror and neo-noir, I present how these texts are in direct dialogue with the ‘Satanic Panic’, the contemporary phenomenon of religious hysteria propagated by Reaganite conservatism and the New Christian Right. I argue that post-Vietnam masculine identity anxieties are intimately tied, and interrogated in these films,

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Pytlovana, Liliia. "The prohibition movement in the United States: the Prohibition Party in cartoons of the late 19th and early 20th centuries." American History & Politics: Scientific edition, no. 11 (2021): 23–33. http://dx.doi.org/10.17721/2521-1706.2021.11.2.

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The present paper has three main objectives: 1) to cover the history of American temperance movements at the turn of the 19th-20th centuries, and their key characteristics; 2) to trace the Prohibition Party history and activity; 3) to do a content-analysis of «Prohibition Cartoons» published in 1904 to support the Prohibition Party candidates to the House of Representatives. Research methodology provides a critical approach to interpreting cartoons based on E. Panofsky’s three strata analysis from the primary subject through conventional subject matter to intrinsic content. Quantitative and qu

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Zhezhko-Braun, Irina. ""Project 1619" as an alternative to "American project"." Ideas and Ideals 13, no. 1-1 (2021): 80–111. http://dx.doi.org/10.17212/2075-0862-2021-13.1.1-80-111.

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This article is the second in a series on the birth of a new elite in the United States, called ‘the minority elite’. The previous article hypothesized that what is happening is not so much the replenishment or evolution of the old elite, but the emergence of a new one, grown on the basis of the Affirmative Action Program, the culture of ‘woke capitalism’ and decades of the minority protest. The process of elite change intensified on the wave of protest activity of black minority, primarily ‘Black Lives Matter’ movement, in the summer of 2020, which coincided with elections to all branches of

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Ickstadt, Heinz. "Review of Susanne Rohr, Von Grauen und Glamour: Repräsentationen des Holocaust in den USA und Deutschland." New American Studies Journal 73 (December 22, 2022). http://dx.doi.org/10.18422/73-20.

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Much has already been written on the Holocaust and its history, but the question of how we can cope with it, how we can live with what we know about it, or how we can imagine what has been called “unimaginable” has been haunting several generations of those who collectively inherited either a history of pain and suffering or a history of collective crime. In view of such moral complexities, Susanne Rohr’s study of representations of the Holocaust in the United States and Germany is a remarkable scholarly achievement. It deals with seventy years of artistic and literary documents—memoirs, autob

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Franks, Rachel, Simon Dwyer, and Denise N. Rall. "Re-imagine." M/C Journal 18, no. 6 (2016). http://dx.doi.org/10.5204/mcj.1050.

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To re-imagine can, at one extreme, be a casual thought (what if I moved all the furniture in the living room?) and, at the other, re-imagining can be a complex process (what if I adapt a classic text into a major film?). There is a long history of working with the ideas of others and of re-working our own ideas. Of taking a concept and re-imagining it into something that is similar to the original and yet offers something new. Such re-imaginations are all around us; from the various interpretations of the Sherlock Holmes stories to the adjustments made, often over generations, to family recipe

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Rolls, Alistair. "The Re-imagining Inherent in Crime Fiction Translation." M/C Journal 18, no. 6 (2016). http://dx.doi.org/10.5204/mcj.1028.

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Introduction When a text is said to be re-appropriated, it is at times unclear to what extent this appropriation is secondary, repeated, new; certainly, the difference between a reiteration and an iteration has more to do with emphasis than any (re)duplication. And at a moment in the development of crime fiction in France when the retranslation of now apparently dated French translations of the works of classic American hardboiled novels (especially those of authors like Dashiell Hammett, whose novels were published in Marcel Duhamel’s Série Noire at Gallimard in the decades following the end

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Potts, Graham. "For God and Gaga: Comparing the Same-Sex Marriage Discourse and Homonationalism in Canada and the United States." M/C Journal 15, no. 6 (2012). http://dx.doi.org/10.5204/mcj.564.

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We Break Up, I Publish: Theorising and Emotional Processing like Taylor Swift In 2007 after the rather painful end of my first long-term same-sex relationship I asked myself two questions (and like a good graduate student wrote a paper about it that was subsequently published): (1) what is love; (2) and if love exists, are queer and straight love somehow different. I asked myself the second question because, unlike my previous “straight” breakups (back when I honestly thought I was straight), this one was different, was far more messy, and seemed to have a lot to do with the fact that my then

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Franks, Rachel. "Building a Professional Profile: Charles Dickens and the Rise of the “Detective Force”." M/C Journal 20, no. 2 (2017). http://dx.doi.org/10.5204/mcj.1214.

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IntroductionAccounts of criminals, their victims, and their pursuers have become entrenched within the sphere of popular culture; most obviously in the genres of true crime and crime fiction. The centrality of the pursuer in the form of the detective, within these stories, dates back to the nineteenth century. This, often highly-stylised and regularly humanised protagonist, is now a firm feature of both factual and fictional accounts of crime narratives that, today, regularly focus on the energies of the detective in solving a variety of cases. So familiar is the figure of the detective, it se

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Kellner, Douglas. "Engaging Media Spectacle." M/C Journal 6, no. 3 (2003). http://dx.doi.org/10.5204/mcj.2202.

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In the contemporary era, media spectacle organizes and mobilizes economic life, political conflict, social interactions, culture, and everyday life. My recently published book Media Spectacle explores a profusion of developments in hi-tech culture, media-driven society, and spectacle politics. Spectacle culture involves everything from film and broadcasting to Internet cyberculture and encompasses phenomena ranging from elections to terrorism and to the media dramas of the moment. For ‘Logo’, I am accordingly sketching out briefly a terrain I probe in detail in the book from which these exampl

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Thèses sur le sujet "Crime films – United States – History and criticism"

Tsang, Wai-ho, and 曾煒豪. "Post-9/11 American gothic family in The hills have eyes duology and Twilight saga." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48395079.

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9/11 attacks open the 21st Century into the fear of the Other, which is coincidentally at the core of the Gothic tradition. In post-911 Gothic texts, the tension of Self and Other can be seen from the gothic family (representing homeland and country) and the gothic monster (representing foreign, dangerous intruder) respectively. This essay is a close study of two sets of Hollywood films dealing with such tension - Twilight saga and The Hills Have Eyes duology. It is argued, with Foucault’s notion of Power/Knowledge, that such Hollywood gothic productions further create and hence reinforce the

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Schnoor, Andrea. "Redefining masculinity : the image of civilian men in American home front documentaries, 1942-1945." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1133730.

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Redefining Masculinity presents an analysis of the American government's portrayal of civilian men in World War II documentary films. The majority of the films, which serve as a primary source for this study, were created by the Office of War Information (OWI) as a means of stimulating home front support for the war. The government's portrayal of civilian men advocated a significant modification of gender roles. According to the OWI, men understood the politics of war, were aware of the national context of sacrifices, and were able to carry the government's message into American households and

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Hart, Hilary 1969. "Sentimental spectacles : the sentimental novel, natural language, and early film performance." Thesis, University of Oregon, 2004. http://hdl.handle.net/1794/297.

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Advisor: Mary E. Wood. xii, 181 leaves : ill. ; 29 cm. Print copy also available for check out and consultation in the University of Oregon's library under the call number: PS374.S714 H37 2004.<br>The nineteenth-century American sentimental novel has only in the last twenty years received consideration from the academy as a legitimate literary tradition. During that time feminist scholars have argued that sentimental novels performed important cultural work and represent an important literary tradition. This dissertation contributes to the scholarship by placing the sentimental novel within a

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Wellborn, Brecken. "Musicals and the Margins: African-Americans, Women, and Queerness in the 21st Century American Musical." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404583/.

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This thesis provides an overview of the various ways in which select marginalized identities are represented within the twenty-first century American musical film. The first intention of this thesis is to identify, define, and organize the different subgenres that appear within the twenty-first century iterations of the musical film. The second, and principal, intention of this thesis is to explore contemporary representations of African-Americans, women, and queerness throughout the defined subgenres. Within this thesis, key films are analyzed from within each subgenre to understand these tex

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Wellborn, Brecken. "Musicals and the Margins: African-Americans, Women, and Queerness in the Twenty-First Century American Musical." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc1404583/.

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Knightly, Patrick J. "Politics and the popular culture : an examination of the relationship between politics and film and music." 1999. https://scholarworks.umass.edu/theses/2551.

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Hemmings, Jonathan Michael. "Dead reckoning : an analysis of George Romero's 'Living dead' series in relation to contemporary theories of film genre and representations of race, class, culture and violence." Thesis, 2008. http://hdl.handle.net/10413/302.

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This thesis is an in-depth analysis of George Romero's 'Living Dead' tetralogy of films, comprising Night of the Living Dead (1968), Dawn ofthe-Bead (1978), Day of the Dead(\985) and Land of the Dead (2005), examined through the lensf of contemporary film genre theory. The project focuses specifically on issues of the representation of race, class, culture and violence in the four films, and how these representations, along with the concomitant social critique evident in Romero's work, change in response to the upheavals and developments which have occurred in the American social, cultural and

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Harper, Rowena. "Frontier mythology in the American teen film." 2009. http://hdl.handle.net/2440/56952.

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This thesis examines representations of youth in the American “teen film”. As a critical category, the teen film is still developing, but it has been defined by a number of critics as being—ostensibly—about and for youth.¹ This thesis engages with teen film literature to test the meaning of these terms. As a genre that is precariously positioned between parent culture and youth audiences, teen film’s narratives are always negotiated and the degree to which it is about and for youth is debatable. I argue that rather than being about and for youth in simple terms, the teen film deploys narrative

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Livres sur le sujet "Crime films – United States – History and criticism"

Muir, John Kenneth. Horror films of the 1970s. McFarland, 2002.

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Galbraith, Stuart. Japanese science fiction, fantasy, and horror films: A critical analysis of 103 features released in the United States, 1950-1992. McFarland, 1994.

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Nott, Robert. Last of the cowboy heroes: The westerns of Randolph Scott, Joel McCrea, and Audie Murphy. McFarland, 2000.

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Rubin, Steven Jay. Combat films: American realism, 1945-2010. 2nd ed. McFarland, 2011.

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1947-, Miller Robert Milton, ed. The screwball comedy films: A history and filmography, 1934-1942. McFarland, 2001.

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1947-, Miller Robert Milton, ed. The screwball comedy films: A history and filmography, 1934-1942. McFarland, 1991.

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Ron, Palumbo, ed. Abbott and Costello in Hollywood. Perigee Books, 1991.

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Galbraith, Stuart. Japanese science fiction, fantasy, and horror films: A critical analysis and filmography of 103 features released in the United States, 1950-1992. McFarland, 1994.

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1941-, Nolletti Arthur, ed. The films of Fred Zinnemann: Critical perspectives. State University of New York Press, 1999.

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Wilkinson, Simon A. Hollywood horror from the director's chair: Six filmmakers in the franchise of fear. McFarland & Co., 2007.

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Chapitres de livres sur le sujet "Crime films – United States – History and criticism"

Yogerst, Chris. "Second Recess, National Unity, and the End of the Investigation." In Hollywood Hates Hitler! University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496829757.003.0014.

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The second recess began with the plan to resume the hearings in October after watching a series of films discussed during the investigation. However, the mounting criticism would make it difficult to predict a victory for the isolationist senators. Because the films had not yet been screened, and with the growing divide within the subcommittee with Senator Tobey’s antics on the last day, the Los Angeles Times predicted the end of the investigation was near. The Senate subcommittee on Motion Picture Propaganda was finally disbanded on December 18, 1941. The subcommittee would never reconvene as

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