Crime stories in this genre often highlight or glorify the rise and fall of a particular criminal (s), gang, bank robber, murderer or lawbreakers in personal power struggles or conflict with the law and order figures, or rival gang. Real-life gangsters and crime reports are often the basis for many crime and gangster films. A significant plot characteristic in these films is often a rivalry with other criminals in gangster warfare. These plots include questions to how the criminal is going to apprehended by the law. According to Horatio Alger gangster films are morality tales.
Cawelti describes the myth within the gangster film as "affirm[ing] the limits of individual aggression and violence ... show[ing] how violence evokes its own inevitable doom" (Cawelti 516). In Pulp Fiction and Bonnie and Clyde, the directors subvert the "traditional elements" and the "traditional mythical world ..." (Cawelti 505) is confounded. Thus begin the generic transformations. The directors thoroughly undermine the traditional myths and effectively replace them with myths of their own construction. The complexities of structure, character and theme within Pulp Fiction exceed the conventional boundaries of the gangster genre and the myths commonly associated with gangster films become inadequate.
To correctly apply the Labeling theory, we have to look at how the theory can give a positive and reinforcing label. The model can explain two major turning points for the brothers, first when the city supports them causing them to start killing. And second, when they have don... ... middle of paper ... ...he overly powerful mafia ruling. The brothers’ vigilante deviance has many causes, all stemming form the Social theory of deviance. The Labeling, Conflict and Strain theories are three of the most important theories for understanding what caused the brothers to start, continue, and stop killing the mafia.
Cinematic portrayals of crime have materially influenced the modern conceptions of criminality. People are simultaneously attracted to and repulsed by the criminal on screen. Watching crime has become a staple of our cultural diet, and this immersion in crime both supports and contradicts the dominant social perceptions of criminality. It is through genre codes and representational techniques of narrative and stereotypes that society manufactures notions of criminality. Crime films have had an enduring presence since the beginning of filmmaking.
Due to the nature of movies, there are some large disadvantages to using film as a medium for historical portrayal. Movies tend to play up certain character traits or moments in time to further the plotline. The destructiveness and greed of certain characters in this movie, like Aguirre, was certainly exaggerated. These exaggerations often over dramatize the situation, which as a filmmaker is not necessarily a bad thing. In a historical drama, as opposed to a documentary, you have the unsung responsibility to keep the audience interested and entertained.
The aspects that will be looked at include the overall storyline and the influence of the culture to which the gangsters belong to, with reference to the commonly held stereotypes the audience have grown to expect from this particular genre. Generally, one expects a lot of violence and deceit which often leads to the main character dying or managing to achieve some sort of redemption. Overall, there are a variety of aspects covered within this particular genre, such as themes of love, hate, friendship, betrayal, loyalty and revenge. The first film looked at is Goodfellas (1990) directed by Martin Scorcese, a stylistic, hard-hitting true mobster story about three ‘wise guys’. The film is based upon the non-fictional book ‘Wise guy: life in a mafia family’ by Nicholas ... ... middle of paper ... ...ny years now and there are a multitude of similarities between films of this category.
This essay will focus on social and economic forms of oppression in Paradise Now and the racial inequalities that co-arise from American cinema. Schudson states that media reinforces the cultural hegemony of dominant groups by making any existing distribution of power, natural or common sense (168). He argues that oppositional views appear unreasonable or Utopian, that being said, Hollywood and American cinema are co-responsible for globally influencing culture (Schudson 168). Culture is a system, which distinguishes human beings based on social and economic factors such as terrorism (Allal 5). Paradise Now, displays terrorism in a perspective that is different from Hollywood films, Hollywood, portrays terrorists as hard-core fundamentalists that are unforgiving and evil, where they terrorize and kill people (Khatib 311).
This film is a melodrama because of the context and social issues this film deals with. American Hustle has a social significance to today’s current culture, society, beliefs and social issues through the use of the American dream, corruption, divorce, crime and family. One of the most important things that Americans hold true to is their beliefs. These are the things that we stick to our guns when we are challenged by others, and they show up in American Hustle. The American dream comes to light in the movie and plays a major role in the story line.
There is a thin line that exists between the depiction of a villain and a gangster that Hollywood has mastered walking on. While villains and gangsters may do many of the same things in movies, like stealing and killing, they each do them for different reasons. Villains enjoy crime because that is what gets them off; some may feel they are doing society a favor, like Uncle Charlie in Hitchcock’s Shadow of a Doubt, and others are more simply portrayed as naturally evil or mentally ill. But Gangsters are doing what they do for something American society can relate to—to make a living and, ultimately, get to the top. This “business” aspect of organized crime is what the movie industry has latched on to in the Gangster genre.
This is apparent when comparing the differences and similarities between The Public Enemy and American Gangster. To better understand this comparison one needs to understand the origination of some of the classic conventions of the gangster film genre. The classic gangster film focusing on a host of norms defined by some of the first gangster films. This genre originated as an escapism from the negative depression era. People would flock to see the gangsters go from rags to riches with their glitzy lifestyle and beautiful women.