| Papers [1-15] of 35 :: [Page 1 of 3] | | Go to page : 1 2 3 —> | Search results on "GANGSTER FILM": |
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Gangster Films and their Evolvement, 2001.
This paper compares the gangster film, "Goodfellas", to the Godfather Trilogy.
1,350 words (approx. 5.4 pages), 6 sources, $ 45.95
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Abstract
The author of this paper uses four films and quotes to illustrate the influence that the Godfather Saga had on the film "Goodfellas". It summarizes each of the Godfather movies including character analysis and connects them to the characters in Goodfellas.
From the paper:
"Gangster films have been popular for many years. Everybody loves a film that depicts the days of mobsters and the many deals and connections that were portrayed within those films. Perhaps there is a small piece of each of us secretly wishing we could throw away the straight-laced life and become a part of the gangster scene back when it had respect. Whatever the reason America loves the films they are a sure moneymaker at the box office. The Godfather Trilogy began in 1972 and had three films to its saga. Each one was popular and picked up where the other left us hanging to continue the story. We expected each Godfather film to resemble the previous work of art. What we didn?t expect was the impact and influence these three films would have on a more recent project called Goodfellas. While Goodfellas is its own movie in its own right the movies is filled with the obvious influence of the Godfather Saga. "
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Gangster Films, 2001.
Discusses auteur theory, development of a genre. Compares 1932 & 1983 film versions of "Scarface" to illustrate changes in gangster genre films.
1,125 words (approx. 4.5 pages), 4 sources, $ 39.95
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From the Paper
"The auteur theory developed by French film critics beginning in the 1950s is partly a convenient way of categorizing and analyzing films, collecting titles as the body of work of the director. More than this, though, the theory holds that it is the director more than anyone else who is responsible for the finished film, since he or she is the one who determines visual style and other matters in the course of production. The theory finds that the director expresses meaning through visual style and that analyzing the visual style of a given director reveals consistent thematic concerns, similarities in character development, and other repeated and recognizable signs of a single intelligence at work. At the same time, though, film remains a collaborative medium, and it would seem that directors would be influenced by their..."
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Gangster Film Genre, 2008.
An analysis of the historical context of the rise of the gangster film genre in the United States and its development from 1930 to 1960.
1,897 words (approx. 7.6 pages), 9 sources, MLA, $ 60.95
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Abstract
This paper looks at the history of the gangster film genre in the United States from the 1930s to the 1960s. It specifically looks at the impact that this film genre has had on American society and culture. The paper discusses the historical context of the rise of the gangster film genre and why it appealed to Americans at that time in their history. It gives specific examples of films and characters that fit into this category.
Table of Contents:
The Rise of the Gangster Genre
The Postwar World
1960's and Beyond
From the Paper
"As World War I ended, the 18th Amendment ushered in Prohibition and with it a wave of crime matched only by the drug and gang wars of our own era. Where brewing and distilling were once respectable trades, the importation, production, transportation and sale of alcoholic beverages was taken over by criminals during the 1920s. In big cities like New York or Chicago, headline grabbing mobsters battled for control of this illegal market. Competition among newspapers sensationalized and romanticized the stories of events like the St. Valentine's Day Massacre or the exploits of "Scarface" Al Capone. Our contemporary war on drugs can be seen as a parallel event - both of which run counter to the dominant free market and individual free choice ideology of the United States. Just as ethnic minorities were disproportionately represented as violating prohibition in the 1930s, those portrayed in modern gangster films are disproportionately Latino and Black or immigrant."
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Gangster Films, 1999.
Examines genre's values, violence and themes, focusing on two versions of "Scarface" (1932 and 1983).
1,350 words (approx. 5.4 pages), 3 sources, $ 47.95
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Abstract
"Films from a given period reflect the social attitudes of that time, no matter when they may be set in time. Thus, a science fiction film may exist in an imaginary future, but the attitudes are those of the time in which the film is made.
From the Paper
"Films from a given period reflect the social attitudes of that time, no matter when they may be set in time. Thus, a science fiction film may exist in an imaginary future, but the attitudes are those of the time in which the film is made. The gangster film has a particular history of reflecting social and political concepts of the time when the film is made because of the effort to show the way society may cause crime and the effect crime in turn has on society. An interesting way of analyzing this is to examine the same story filmed in two different periods, such as the two versions of Scarface (1932 and 1983). Each takes an overt stance to the issue of the relationship between crime and society even as each also reflects different ideas of how the criminal is formed by his psychology. The two Scarfaces are motivated largely by a desire to get ahead in the ..."
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Gangster Film, 1989.
Discusses development & evolution of this film genre, 1925-1950. Examines major elements, style, influences, themes, mythic resonances, directors, stars and films from "Little Caesar" (Mervyn LeRoy) to "White Heat" (Raoul Walsh).
2,925 words (approx. 11.7 pages), 6 sources, $ 103.95
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From the Paper
"This paper will present a discussion of the development and evolution of the genre of the gangster film. The paper will focus on how the gangster film genre matured and changed over time from the year 1925 through 1950. The paper will also discuss the major elements of the genre, as well as the style, influences, themes, and mythic resonance?s contained in gangster films. Specific films, directors and stars of the gangster genre will also be discussed.
Throughout its development, the gangster film genre provided an index of the social, political and cultural values of the times. As a popular form, gangster films reflected the ideas and concerns, which held the attention of the general public. As the genre developed, the moral stance, which these films presented (...)"
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The Gangster Movie Genre, 2002.
An analysis of "The Godfather" films as examples of the gangster movie genre.
2,155 words (approx. 8.6 pages), 5 sources, MLA, $ 67.95
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Abstract
This paper discusses the gangster movie genre in film and how "The Godfather" and "Godfather Three" are representative of this genre. The gangster world and its history are presented and an overview of the films given. Examples from the movies that illustrate characteristics of the genre are provided.
From the Paper
"Film productions often mimic real life. It is what allows them to be placed into genre categories. Genres in the movies are very much like genres in the world of literature. There are romance genres, history genres and others that depict the type of movie that the film falls under. One genre waxes and wanes in its popularity. The gangster genre is one in which many movies have been made and they are classified as gangster genre by the characters attitudes, the events and the historical context of the movie plot. Two very classic gangster genre films are The Godfather and The Godfather Part Three. Critics have admired as well as panned these movies depending on the critics taste and film desires, however they all agree that they are classic illustrations of the gangster genre."
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"The Gangster Of Love", 2002.
A review of the book "The Gangster of Love" by Jessica Hadgedorn.
950 words (approx. 3.8 pages), 1 source, MLA, $ 33.95
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Abstract
The paper reviews Jessica Hadgedorn's novel, "The Gangster of Love" which depicts the struggle between the Philippines and America and their history of mutual delusion, strife, and misleading affection. The paper explores the main character, Rocky, and explores the relationships and themes of the book.
From the Paper
"Negligent of the cultural tradewinds reeling around her, Rocky constantly constitutes a psychological niche for herself in asserting her independence as a female spirit. Geared up to seek the extent of America's potentialities, she decides to take a chance by embarking on a cross-country trip with Elvis Chang to New York. Armed with little more than a limited amount of funds, a shaky pickup truck, and a repletion of dreams conceiving musical triumph, the couple make plans to start up a rock band called ?The Gangster of Love.?"
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Gangsters and Prohibition in 1920s America, 2002.
A historical analysis of "The Great Gatsby" by F. Scott Fitzgerald.
1,400 words (approx. 5.6 pages), 5 sources, $ 53.95
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Abstract
This paper assesses gangsters and Prohibition in America in the 1920s. They are a constant theme in "The Great Gatsby" because they were a presence throughout American life in the 1920s. Prohibition created a vast black market for liquor that gangsters controlled. This contemporary reality inspired the gangster themes in "The Great Gatsby".
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The Coen Brothers: A Study in Genre and Aesthetics, 2002.
A study of the career of independent film-writers, directors and producers, the Coen Brothers.
3,040 words (approx. 12.2 pages), 9 sources, MLA, $ 89.95
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Abstract
This essay discusses the aesthetic choices the Coen Brothers made throughout their career. It studies the films "Raising Arizona" for creative lens use in a farce, "Miller's Crossing" for camera angles in a gangster film, "Fargo" for long takes in a police thriller and "The Man Who Wasn't There" for lighting in a film noir. The paper argues that through the use of aesthetics the Coens shape each genre they try with their own signature auteur style.
From the Paper
"In a world where big-budget studios control most of what is seen in theatres, the Coen Brothers have managed to make independent features that they write, produce and direct as a team, and have had some moderate success. Their scripts often focus on unlikely heroes; they choose completely average people and places to become the focus of their quirky dialogue and situational comedy. Their charismatic ?normal? characters have attracted a number of top actors and actresses to their projects, such as Holly Hunter, Nicholas Cage, John Goodman, Steve Buscemi, John Turturro, and Francis McDormand. In fact, with a reputation for making quality films, although often commercial failures, some of Hollywood?s most respected actors have lowered their usual salaries to appear in Coen films. Tim Robbins appeared with Paul Newman in The Hudsucker Proxy, between projects of his own in the early nineties, Jeff Bridges took the leading role in The Big Lebowski with Julianne Moore in a supporting part, George Clooney followed up his success on ER with the main role in Oh Brother, Where Art Thou, and the Coens recruited Billy Bob Thorton and James Gandolfini for The Man Who Wasn?t There. These stars have helped the brothers propel their own names into stardom, despite the only moderate success of their feature films, and have made their pictures well-known cult classics."
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Media and the Mafia, 2005.
This paper discusses that organized crime has been glamorized by the entertainment industry.
1,680 words (approx. 6.7 pages), 2 sources, MLA, $ 54.95
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Abstract
This paper explains that America's first big blockbuster was the very first gangster film, made in 1903, called "The Great Train Robbery"; this was not a romantic story or a comedy but rather a film about violence. The author points out that Francis Ford Coppola's "The Godfather" (1972), a film based on a novel by Mario Puzo, produced by Paramount Pictures, is listed on the top American Film Institute's list of the 100 films in history; the 1974 sequel was the only sequel to ever win an Oscar. The paper reviews Martin Scorsese's film "GoodFellas", the very first Mafia television series "The Sopranos" (HBO), which has won many awards and the reality show "Growing Up Gotti" (A&E) featuring Victoria Gotti, daughter of John Gotti and an accomplished gossip columnist for the New York Post.
From the Paper
"Years later, sound was able to be recorded on film. In 1932, nearly thirty years after "The Great Train Robbery" was filmed, a new gangster film about a mad man with a Tommy gun brought controversy to the cinema. It was called Scarface, and it was loosely based on the life of Al Capone during prohibition years. Capone was a lot like Gotti in that he loved the attention of the media. Screenwriter Ben Hecht believed that if the movie is called "Scarface", people will think it's about Al Capone and come see it."
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?The Godfather?, 2002.
This paper analyzes the movie, ?The Godfather?, based on the novel by Mario Puzo.
1,535 words (approx. 6.1 pages), 7 sources, $ 50.95
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Abstract
This paper discusses that the film, ?The Godfather?, brings us into the romanticized criminal underworld by asking the viewer to evaluate the Corleone family not based on traditional standards but on Mafia standards. The author points out Coppola?s ability to present such a large cast so skillfully that within the first few minutes of the film, nearly all of the main characters are introduced. The paper states that ?The Godfather? redefined the genre of gangster films and shaped public perception of the Mafia.
From the Paper
"Michael is the tragic hero of the film. He evolves from a na?ve, unwilling spectator into a Godfather. In the end, Michael becomes everything he despised about his family and more. After his father?s heart attack, he realizes that his father is going to die, and he is the only one who can fill his shoes. It is clear that he had wanted something else out of life, but he feels the need to continue his father?s legacy, inevitably becoming more merciless than he would have ever dreamed. "
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'Scarface', 2006.
A review of the 1932 film 'Scarface' and the remake 50 years later.
2,854 words (approx. 11.4 pages), 7 sources, MLA, $ 84.95
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Abstract
This paper reviews the original and the remake of the film 'Scarface' and compares the two. According to the paper, a change in the gangster genre can be seen when comparing the two versions. The paper further discusses how while attitudes toward crime changed in some degree between these two films, both films are based on the primary view that the criminal will ultimately fail, a victim of his own evil actions, leading to a well-deserved death.
From the Paper
"The first version of Scarface was actually produced in 1930 and not released for two years while the filmmakers battled "with industry censors over its sensationalism and glorification of the gangster menace" (Dirks para. 1). When the film was released, it had as its subtitle "The Shame of a Nation," a way of telling the public that the production company disapproved of the main character and his style of life. Such disclaimers were a response to public concerns raised after the release of films like Little Caesar (1930) and The Public Enemy (1931), films cited both for glorifying criminals and for excessive violence (though given the way the gangsters in each film were killed, it is difficult to see the film as a whole glorifying them or their crimes). "
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"The Public Enemy" and "On the Waterfront", 2008.
A comparative analysis of the gangster movies "The Public Enemy" and "On the Waterfront".
1,266 words (approx. 5.1 pages), 0 sources, $ 42.95
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Abstract
This paper discusses how "The Public Enemy" (1931) and "On the Waterfront" (1954) are perhaps, two of the most well known films from the early to mid 20th century. It looks at how these films portray illegal activity and gangster infiltration into the mainstream during two different decades. James Cagney plays Tom Powers, a magnetic, cocky, completely amoral, emotionally brutal, ruthless, and terribly lethal individual in "The Public Enemy", while Marlon Brando stars as Terry Malloy, an inarticulate, struggling, brutish hero and small-time ex-boxer in "On The Waterfront". The paper attempts to show how both characters are involved in criminal activity even though their differences in attitude and personality are completely opposite.
From the Paper
"The opening scene of The Public Enemy pans across views of pre-Prohibition Chicago. Exposed to this scene of life on the South Side of Chicago, are two poor Irish boys: Tom Powers and his neighborhood friend Matt Doyle. We are first introduced to Tom as he stands outside of a bar, and swigs beer from a bucket. Shortly thereafter, he is causing trouble in a department store, which draws the attention of a police officer. Tom also enjoys playing a trick on Matt's sister, by putting a stick in her path while she is roller-skating. She states of his well-known reputation: "You're the meanest boy in town... Jail, that's where you'll be some day, Tom Powers!" This scene sums up Tom's character: relentless, self-centered, and destructive, and also displays his lack of respect towards women. "
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Tragic Devotion, 2006.
A review of the film "Road to Perdition".
950 words (approx. 3.8 pages), 0 sources, $ 33.95
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Abstract
This paper reviews the film 'Road to Perdition', meaning eternal damnation. The author asks how the title of the film relates to the characters and themes, and wonders whether it is a portent of things to come in the movie. Set in the late 1920s in Chicago, the film is about Michael Sullivan, whose wife and younger son were murdered by the biological child of the man who raised him after his own parents were killed. That man, John Rooney, was a gangster, and his mafia connections embolden his son, Conner. Yet, as the paper points out, the match-up between Conner and Michael is balanced, because Michael is more clever and cunning than the mafioso. The paper focuses its analysis on the theme of revenge as it relates to both men.
From the Paper
"This slaying of his family gives Michael Sullivan strong ambition to seek revenge against Conner Rooney for the acts he has committed. The second convention of a revenge tragedy is also already apparent to the viewer. That convention is that the protagonist has justification (to the viewer's satisfaction) for seeking revenge. Sullivan quickly finds out that if he is to do so, he will be opposing the might of the mafia as well as the man that raised him...John Rooney. This raises a strong moral dilemma in the movie as by killing Conner Rooney, he is betraying his emotional father John Rooney. Will he seek revenge and slay the murder of his family while in the process breaking the relationship with the man that raised him and risking his own life? Or will he move on with his life still living under the protection of the mafia? Michael decides to go all the way and avenge his family's death, as he doesn't want his son following in his footsteps of organized crime."
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?Code of the Street?, 2006.
This paper reviews Elijah Anderson's "Code of the Street," which details the film industry's common practice of glorifying gangs and low income minority communities as well as the news and media's tendency to shine a totally different light on this issue.
1,570 words (approx. 6.3 pages), 1 source, MLA, $ 51.95
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Abstract
This paper explores Elijah Anderson's book "Code of the Street" which details the manner in which popular culture glamorizes gangster life while the news media depicts urban slums as being overrun with violent criminals. In his book Anderson explains that there is in fact an intricate culture to life in poor minority communities. The author contends that this "code," or way of life, encompasses ideas regarding the manner in which families interact among themselves. This "code" is the result of the structural circumstances and cultural adaptations made by the people who live in these violent communities. In the context of Anderson's book, these structural circumstances are the situations individuals become involved in due to their place in society. This paper also discusses the film "Boyz N the Hood" which exemplifies and provides support for Anderson's theories. The film, designed to create awareness about life in violent communities, offers several significant scenes which are analyzed in this paper.
Table of Contents:
Introduction
Significant Events in "Boyz N the Hood"
The Film's Events as They Apply to Anderson's Book
Conclusion
From the Paper
"The "code" is the result of the structural circumstances and cultural adaptations made by the people who live in these violent communities. In the context of Anderson's book, structural circumstances are the situations individuals become involved in due to their place in society. An example of a structural circumstance would be the life of a decent single mother. Without the structure of a nuclear family, who become role models in the community the single mother "must work even harder to neutralize the draw of the street, and she does so mainly be being strict and by instilling decent values in her children. Cultural adaptations are the way they alter their behavior in order to survive in particular situations or environments. For example, decent families will often have to "code-switch" which means they may have to behave in a violent or vulgar street manner instead of the decent, respectful manner in which they have been taught in order to survive a situation."
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