stories turned upside down in which criminals live in an inverted dream world of success and wealth. Although they are doomed to failure and inevitable death (usually violent), criminals are sometimes portrayed as the victims of circumstance, because the stories are told from their point of view.
American Cinema, American Culture:The gangster film
AMERICAN CINEMA, AMERICAN CULTURE: THE GANGSTER FILM Alex M. Trevor P. Paramveer P. Julia R.. Tommy Y.
THE GANGSTER FILM• Developed around the sinister actions of criminals or gangsters• Highlight the life of a crime figure or a crimes victim(s)• Glorify the rise and fall of a particular criminal(s)• They are morality tales• "The end of Tom Powers is the end of every hoodlum. The Public Enemy is not a man, it is not a character, it is a problem we must all face.“ –Public Enemy 1930’s
THE GUIDELINES• Collaborate ,Analyze , Construct• We chose to Analyze our films using • The four stages discussed by Thomas Schatz in Hollywood Genres • an experimental stage, during which its conventions are isolated and established • a classic stage, in which the conventions reach their “equilibrium” and are mutually understood by artist and audience, • an age of refinement, during which certain formal and stylistic details embellish the form, and finally • a baroque stage, when the form and its establishments are accented to the point where they “themselves become the "substance” or “content” of the work.“• We Constructed • Tiki Toki timeline • Google map
ANALYZE• Experimental • First real Gangster films started in this stage • Before Gangster films really got popular• Classic • Very violent films • Organized crime • Mob portrayed as very tight-knit family • Huge on loyalty, if you werent loyal to the mob you were killed • Most of these had rise of one person to his rapid downfall• Age of Refinement • Portrayed mobsters in a better light • Focus on politics of mob instead of violence• Baroque • Self reflective • explains Gangster films and politics • Details of the characters thought