Fran Mason (auth.)'s American Gangster Cinema: From Little Caesar to Pulp Fiction PDF

By Fran Mason (auth.)

ISBN-10: 0230596398

ISBN-13: 9780230596399

ISBN-10: 0333684664

ISBN-13: 9780333684665

ISBN-10: 0333714717

ISBN-13: 9780333714713

ISBN-10: 0333930649

ISBN-13: 9780333930649

Much research of gangster video clips has been dependent upon a research of the gangster as a malign figuration of the yankee Dream, initially set within the period of the melancholy. this article extends earlier research of the style by way of interpreting the evolution of gangster videos from the Thirties to the modern interval and through putting them within the context of cultural and cinematic matters reminiscent of masculinity, consumerism and know-how. With a detailed exam of many motion pictures from Scarface and Public Enemy to Reservoir canines and Pulp Fiction , this publication presents a desirable perception right into a topical and renowned subject.

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Extra info for American Gangster Cinema: From Little Caesar to Pulp Fiction

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The opening scene establishes the relationship between Tom and Matt: Matt wants a kiss from a girl while Tom wants to get to business. In the next scene they are seen running through a store with the watches they have stolen and sliding down the elevator rail to elude capture. This scene shows their facility in moving around the public spaces of the city, a motif that returns constantly throughout the film and is opposed to their uncertainties in closed spaces, as in the first robbery they embark on which 18 American Gangster Cinema fails not only because they are inexperienced but also because they are ill at ease in the restricted place of the interior of the fur warehouse.

Rico's world is a secret domain of back rooms and even the banquet scene, which Rico feels is public recognition of his power and status, takes place in a private room above the public space which is open to all. Rico is most often seen in small concealed rooms which are exclusive places signalling that a person is on the inside of the gangster power system, but they are also hiding places, fortresses protected from the outside that give the impression that Rico's power is very fragile. This is most obviously represented in the scene after the robbery of Lorch's club.

As he walks aimlessly around the streets a long shot reveals him to be a tiny figure against the vastness of the street space and it is on the streets where Rico dies, trying to hide behind the sign advertising Joe's first film, a poor defence that cannot substitute for the walls of the fortress space he usually occupies. It is in the ending that the film shows its uncertainties about Rico's status, in terms of both morality and power. ') `reflect our own disbelief that this heroic, willful, urban demigod ever could be destroyed' (Schatz, 1981: 87), implying that he has defied morality and controlled society.

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American Gangster Cinema: From Little Caesar to Pulp Fiction by Fran Mason (auth.)


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