By F. Mason
A lot research of gangster video clips has been established upon a learn of the gangster as a malign figuration of the yank Dream, initially set within the period of the melancholy. this article extends prior research of the style by means of analyzing the evolution of gangster video clips from the Nineteen Thirties to the modern interval and by means of putting them within the context of cultural and cinematic concerns corresponding to masculinity, consumerism, and know-how. With a detailed exam of many motion pictures from Scarface an Public Enemy to Reservoir canine and Pulp Fiction, this ebook offers a desirable perception right into a topical and well known topic.
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Extra resources for American Gangster Cinema: From 'Little Caesar' to 'Pulp Fiction'
Com - licensed to Universitetsbiblioteket i Tromso - PalgraveConnect - 2011-03-15 18 American Gangster Cinema not bring power; power is only gained when you are part of the gang and are able to move freely between different spaces, to transgress boundaries as if there were no exclusion zones. This is signalled in the second, successful, heist which takes place in 1920 during Prohibition. In this raid Tom and Matt siphon alcohol out of kegs inside a warehouse and pump it through a pipe in the wall to a waiting gasoline truck.
It not only draws attention to itself but because of its size is in everyone's direct eyeline and causes the characters to peer round it to talk to each other. It acts as a metaphor for the invasion of the home by the gangster world of bootlegging and crime and causes Mike to erupt in anger when Tom pours drinks from it. This, however, has as much to do with the fact that the beer-keg also acts as a metaphor for power and masculinity and Mike's anger is at the way in which his honest life of toil has effectively emasculated him while Tom's life of excess and crime has empowered and embodied him as a man because of his place within the gang's masculine brotherhood.
The tension between freedom and control and individual and system return however, even in the gangster's success, because the gangster's desire for power is also an impulse towards rationalisation which causes him to rely on the gang structure he has created rather than on his own wits or power of will. The gangster requires an organisation to control this territory (to ensure his freedom of movement within this space), but finds that this both curtails freedom outside the territory and ensures the further dependency on structures of power that in the end confine him.
American Gangster Cinema: From 'Little Caesar' to 'Pulp Fiction' by F. Mason