| Papers [1-15] of 35 :: [Page 1 of 3] | | Go to page : 1 2 3 —> | Search results on "GANGSTERS": |
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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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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 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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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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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, 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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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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The Al Capone of Libya, 2008.
This paper draws parallels between Libyan leader, Muammar al-Qaddafi and famous gangster, Al Capone.
1,743 words (approx. 7.0 pages), 8 sources, APA, $ 56.95
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Abstract
The paper provides a comparison of Al Capone, the Chicago gangster and leader of organized crime, and Muammar al-Qaddafi, the Libyan ruler. The paper shows how both Capone and Qaddafi were individuals that led an organization to control others on a large scale, using political and violent means to gain power. The paper explains that the correlations between the lives of Capone and Qaddafi are significant because they demonstrate the elements that are essential in creating future gangsters.
From the Paper
"In the late 1890s the term gangster began to be used in the United States, referring to the member of a gang that committed criminal acts and that was not accepted in society ("Gangster, 2007; "Gangster defintion", 2007). Criminal acts could be as simple as stealing a newspaper or an apple from the corner fruit stand. To be a gangster at the time simply meant that the individual was bad and that those he associated with were bad as well. However, when Al Capone began to be noticed as someone that was the leader of organized crime he was labeled as public enemy number one and the term gangster took on a completely new meaning. A gangster, in the eyes of the American criminal justice system, was an individual that attempted to live above the law, made a living committing criminal acts, was violent, a menace to the society of law abiding citizens and was a member of a gang that was known as organized crime."
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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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Al Capone, 2005.
This paper discusses Alphonse "Al" Capone, America's best-known gangster and the single greatest symbol of the collapse of law and order in the United States during the 1920s Prohibition era.
1,685 words (approx. 6.7 pages), 8 sources, MLA, $ 54.95
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Abstract
This paper explains that, without Prohibition, the banning of the sale of alcoholic beverages, officially known as the 18th Amendment to the U.S. Constitution, the criminal career of Al Capone would never have reached the heights of criminality. The author points out that Al Capone, one of the first crime czars in American history, took the feudal Italian criminal society and fashioned it into a modern American criminal enterprise. The paper relates that, by 1929, the Capone gang was credited by the Chicago police with at least 300 murders. It discusses how on February 14, 1929, the struggle for the control of the North Side of Chicago erupted in extreme violence with what is now known as the St. Valentine's Day Massacre. This day saw seven men belonging to Capone's arch-enemy "Bugs" Moran's gang lured into a garage by Capone's men disguised as policemen, lined up against a wall and shot to death with machine guns.
From the Paper
"Thus, Prohibition went into effect in 1920 but its passage reflected an effort that had started in the 19th century. Though most of the reform efforts were heavily influenced by the struggle to fix the political and economic inequalities related to industrialism, the ban on alcohol was essentially a religious crusade. With the Women's Christian Temperance Union leading the way against the use, sale or distribution of alcohol in America's bars, restaurants and homes, Andrew Volsted, a U.S. Representative in Congress, soon joined their cause which he saw as a way of regulating morality in the context of the use and abuse of alcohol, "one of America's most devastating habits that leads to corruption, immorality and the destruction of the soul"; thus, the 18th Amendment became known as the Volstead Act."
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"Get Shorty" ( Barry Sonnenfeld ), 1995.
Examines this 1995 gangster film. Discusses its plot, characters, style, humor and suspense.
1,350 words (approx. 5.4 pages), 1 source, $ 47.95
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From the Paper
"The film Get Shorty (1995) mixes elements from different genres to create a movie about movies and about moviemaking. The central metaphor is that making movies is like being a gangster, and the world of the gangster and the world of the movie producer are shown to be very close in style and tone. The two worlds are brought together in this film through the central character of Chili Palmer, the gangster who likes movies. The film draws on expectations the audience has about what happens in crime films while twisting many of those expectations to produce a different sort of experience.
The plot is complex and has several different elements, all of which are finally linked through Chili Palmer. Palmer is the character who is followed from beginning to end, and the two worlds of interest to him--loan-sharking and movies--come ..."
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Al Capone, 2002.
This paper discusses how Capone was simultaneously a gangster and a hero.
1,150 words (approx. 4.6 pages), 8 sources, $ 44.95
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Abstract
This paper explains that, though Capone's public fortunes waxed and waned, he was, for a considerable time, held up as a swashbuckling type of hero as he did battle with the conservative forces who had robbed the populace of one its favorite pastimes, drinking. He was rich and successful in a raucously defiant way--much like the gunmen of the wild west-- and this endeared him to public of the 1920's.
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"Bonnie & Clyde" ( Arthur Penn ) &" Breathless" ( Jean-luc Godard ), 1997.
Compares gangster films' styles, imagery, sources, characters, atmosphere and violence.
1,575 words (approx. 6.3 pages), 4 sources, $ 55.95
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From the Paper
" The gangster genre in film encompasses a number of different forms, and the range can be seen in a comparison of Arthur Penn's Bonnie and Clyde and Jean-Luc Godard's Breathless, two films which make use of conventions of the gangster film while extending those conventions into very different territory. The gangster genre in American film is primarily an urban phenomenon, while Bonnie and Clyde has a rural setting in keeping with a specific criminal history from the 1930s. Breathless draws its inspiration from American crime films of the 1940s and uses the conventions found there to express a different view of the urban criminal landscape and of the way a film should be structured. In some respects, the Penn film is more conventional in structure, but it as well reshapes the genre in service of a more mythic expression of American freedom and rebellion."
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Al Capone, 1994.
A psychobiography of the U.S. gangster including myths, behaviorist and reinforcement theory, family, ethnicity and gang dynamics.
1,575 words (approx. 6.3 pages), 5 sources, $ 55.95
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From the Paper
"Alphonse ("Scarface") Capone (1899-1947), the most famous U.S. gangster of the twentieth century, became head of the Chicago crime syndicate in 1925. Two years later, the 28-year-old gangster was grossing "105 million a year from his operations. He continued to dominate organized crime until 1931, when he was imprisoned for income tax evasion" (Wallechinsky & Wallace, 1981, p. 496), an incongruously minor infraction compared to the bloodshed he actually left behind.
No other American gangster rose to the international reputation of Al Capone, whose historical image is a curious blend of ruthless gangster and a "distorted Horatio Alger hero who went from rags to riches to jail" (Nash, 1992, p. 78). Nash (1992) goes on to characterize Capone as "a ruthless, murderous thug who killed without remorse--street smart, clever, and..."
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