“By day I am a business man, by night I am the most feared gangster in whole of Manchester.” [1]
An investigation into the on-screen gangster. How have traditional representations changed to reflect the shifting nature of masculinity?
This essay will discuss how the traditional representation of the gangster has changed to reflect the shifting nature of masculinity. We can agree that the gangster genre has come a long way from Mervyn Leroy’s “Little Caesar” (1931) 2 to Martin Scorsese’s “The Departed”(2006), 3 however such alterations would not have occurred if the drastic changes in society did not take place. Such changes include equal rights for all individuals, including ethnic minorities, and more recent positive changes for homosexuality. A prime example that exemplifies these changes is “A Very British Gangster” 4 which was produced in 2007 by Donal Macintyre. To outline the alterations in gangster films, this essay will compare a contemporary text “A Very British Gangster” to Brian De Palma’s “Scarface” (1983) 5.
The gangster genre has been present for almost a century, arguably originating in D.W. Griffith’s “The Musketeers Of Pig Alley” (1912) 6. More renowned texts produced by Warner Bros, who were famous in the 1930’s for producing classic gangster films7, are William Wellman’s “The Public Enemy” (1931) 8 and Howard Hawks “Scarface” (1932) 9.
The typical ethos behind any gangster’s actions is the ambition to get rich, after migrating from a poor country. Robert Warshow states, “ all gangster films typically involve a poor immigrant so desperate for the American dream--money, position, flashy clothes and cars--that he falls prey to a life of crime” 10.
Horatio Alger reinforces this, explaining, “Often migrants commit crime in pursuit of wealth, status, and material possessions” 11 as many white established individuals around them have many of these things. This situation is evident in “Scarface”(1983) as the protagonist is an immigrant migrating from Columbia to the USA, in order to fulfill the American Dream. On the other hand, Warshow and Alger’s theories are not evident in “A Very British Gangster”, as the anti-hero is born in the UK. This suggests the typical narrative structure has fallen out of fashion.
However, to counteract the argument that the traditional gangster narrative trajectory has declined, most gangster films have similar narrative closures or morals of the story, “ The death, decline, or successful prosecution of the gangster, provides the conclusive ending the typical narrative demands”.12 As a result, the audience knows what to expect and can identify up to a point with the conventional outcome of the gangsters’ action; as in reality these actions are unlawful, so the protagonist or anti-hero is seen to be punished. This conventional outcome is still heavily featured in most contemporary gangster films, so that the audience can recognise the norms of society.
Furthermore, the conventional gangster narrative usually involves a “binary opposition, a sense of law vs. lawless” 13 or “contrast between two men, either related through friendship or kinship, with one of them getting an honest job while the other resorts to crime” 14, so in other words good vs. evil. Straussian binary opposition is apparent in both films, as the audience is exposed to a battle between law vs. lawless. This convention is still commonly used in most gangster films, as this conflict and its resolution provide the basis of the narrative, thus indicating the representation of the gangster has not changed. This helps to suggest that “films repeat themselves in different ways” 15 whether being through the narrative structure or the codes and conventions used. From this we can gather that contemporary gangster texts still contain conventional elements of the gangster genre, such as the use of binary oppositions and the typical narrative closure. However, other conventions are challenged and have arguably died out, although they may be revived due to the cyclical nature of the genre films. 16
Traditional gangster films were loosely based on real life characters, for example Howard Hawk’s “Scarface” had similar references to the life of Al Capone, a mass criminal of the 1920’s. Such films allowed audiences to identify with characters vicariously experiencing their crimes.17 “Scarface”, alongside other gangster films in the 1930’s gave rise to typical codes and conventions used in similar films. These conventions include smart suits, violent activity, murder, weapons and luxury items associated with the lifestyle such as cigars and liquor 18.
Brain De Palma’s “Scarface” has had enduring global success and appeals to many different audiences. This is mainly due to its realistic storyline, which was based on true events of the 1970’s like the substantial popularity of cocaine. Others are fond of its power and meaningful quotes, for example “This is paradise, I'm tellin' ya. This town is like a great big pussy just waiting to get fucked”. 19 “Scarface” is considered a masculine film, as the protagonist is seen to be superior in comparison to all female figures in the film. This is supported by the fact that the anti-hero does not portray any emotion or remorse to his acts of violence. Even though the equality act was introduced for women in the 1960’s, females still were treated unequally in society, which was reflected through their roles in gangster films. As a result, the idea of a patriarchal society was still intact.
Therefore it is fair to say that gangster films often represent issues and concerns that are common to the few years leading up to the release of the film. For example, another issue in the USA prior to the 1980’s, apart from the popularity of cocaine, was the amount of migrants moving away from poor unfortunate countries. This was presented in “Scarface” as the anti-hero was not only shown to supply cocaine but also was a migrant. As a result, both Horatio Alger’s and Robert Warshow’s theory has been proven. 20 In addition, films such as “Swordfish”(2001) present problems common the 21st century like the amount of illegal computer hacking that takes place.
After many successful gangster films like Scarface, the entire gangster genre was influenced by the basic codes and conventions, which include smart suits, weapons etc. Films or texts that exemplify such codes and conventions are “Goodfellas”, “The Sopranos” and “The Godfather”.
Some films may not adhere to these conventions; however they are loosely based around them, for example “The departed (2006)”. The film does not portray the traditional gangster; as he is not seen to be wearing a suit or does not carry violence out directly; instead the protagonist is working undercover for the police. In classical gangster films, this twist or alteration in role would not be present, however due to the change in representation of the gangster, contemporary films are now adapting. This is because, as society changes; people’s view or image of a gangster is also altering, therefore directors need to be able to represent a contemporary gangster that the audience can identify with. This is evident, in films such as Ridley Scott’s “American Gangster” (2007) 21 as the representation of the white gangster has been challenged because the protagonist is of a black origin. This helps to suggest that the on screen representation of the gangster has changed. However, the statement that most gangster films often represent a gangster that has migrated from a poor country, in order to chase the American dream can be applied. After the release of “American Gangster”, many Afro Americans felt the film was reinforcing the stereotype that the majority drug dealing was coming from young black males. 22 In such situations, the concept of hegemony can be applied, as the dominant groups in society are portraying and passing down their negative ideologies about certain groups in society. Consequently, many individuals may act upon these negative stereotypes leading to certain ethnic groups being treated differently and as a result reinforcing colonialism ideologies.
We can say that the current, up to day text “A Very British Gangster”, shares similarities in codes and conventions with “Scarface” to an extent, however they also differ hugely.
Both films explore gangsters and their ambition to get rich and powerful through acts of violence and criminal activity. This can be supported by the fact that the protagonist Tony Montana is a major drug baron in Miami.
Typically, gangster films involve the protagonist importing or distributing some sort of illegal substance, which carries a substantial amount of value. However, this convention is broken in “A Very British Gangster” as the protagonist is carrying on his family tradition to money launder. We can say this type of crime is more common in present times, as the birth of web 2.0 and new and digital media has made fraud and money laundering more accessible.
Furthermore, the use of smart suits and props associated with the lavish and powerful lifestyle of a gangster, such as money and bodyguards, are present in both films. This is to uphold the image of the powerful and superior figure of the gangster. If these characters dressed casually like most citizens, the amount of respect and attention they receive in society would not be as it is.
In classical gangster films, the protagonist was portrayed to show no remorse or emotion.
This was purely because anyone who was seen to show signs of emotion or sentiment was considered to be feminine. And anyone who was seen to be feminine was stereotyped to be gay or homosexual. Historically, homosexuality was frowned upon and often people who admitted to it were socially excluded from society. If emotion was shown in the character, the whole image of the raw, ruthless gangster would have been ruined.
However, programs such as “The Sopranos” that focuses primarily on the family and emotional side of the gangster’s life break the convention of most gangster genre extracts. The program first aired on television in 1999 on HBO 23, which can be used as evidence to suggest why the program is based on the gangster’s emotional life, rather than his violent criminal lifestyle.
As more gangster films were produced, audiences were familiar and became desensitized to the lavish and dangerous lifestyle that was associated with all gangsters. Therefore, they wanted to see how these gangsters dealt with everyday issues that are common to the audience. Consequently, the audience used this as a form of identification, which broke the traditional convention of most gangster films.
It is fair to say gangster films have changed to represent the zeitgeist; this is because the audience want to see a gangster that represents the current time, so that the audience can identify with certain aspects such as urban settings and demographics that they are familiar with. Also, because new legislation was passed about homosexuality and gay marriages, many individuals feel more protected which therefore allowed them to be open about their sexuality. Consequently, directors were able incorporate some emotion into their gangster characters. This is because; people starting stereotyping individuals who displayed a sense of femininity in their body language and the manner they spoke in referring to this as “camp”, rather than how much emotion the person showed.
Effectively, the gangster genre was adapted, as directors were able to take the raw and remorseless gangster but presented him with a sense of emotion, whether that being towards his family, friends or sexuality etc.
We can say that globalisation has played an important role here; this is because once one film broke the convention, other directors incorporated similar aspects of emotion in their gangster protagonists. Also, audiences started to accept the new representation of the gangster that portrayed some emotion.
This is evident in “A Very British Gangster”, as the protagonist opening admits to being homosexual. However, the gangster bravado is not tarnished, as he is still seen to be involved in a substantial amount of violent activity and is still portraying the traditional gangster ethos. For example, in a number of scenes we see the protagonist looking after his neighbourhood, who rely on him more than the police force. This is a traditional element of a gangster’s role, as he protects and resolves many local disputes. Audiences and people in general are more accepting of the protagonist’s sexuality, as he plays a significant role in society and carries out the traditional function of a masculine gangster. Also due to the fact that homosexuality is becoming more popular in society, people have to become more accepting; In the UK alone, “one in sixteen or 3.6million of the population are gay or lesbian”. 24
As homosexuals can be open and confident about their sexuality and the changing nature of the male, where he is seen to be showing more emotion, thus giving rise to the “new man”, there is a constant argument and issue being raised about the “masculinity crisis”. 25
Men are called upon to act the part of the victim, by getting in touch with their emotional side;26 people think the traditional strong, masculine image is threatened. However, the typical roles that most males play in society are still present. We can say this is a moral panic,27 as it is an issue that has been blown out of proportion, to create publicity and sell.
To conclude, it can be argued that the on screen representation of the gangster has evolved to reflect the shifting zeitgeist. This is because males in contemporary society are able to demonstrate a sense of emotion, without being stereotyped as homosexual, so more directors (influenced by the rise of the ‘New Man’) now include this aspect in the gangster character. This allows the audience to use this as a form of identification, alongside the more established typical gangster ethos to get rich and powerful, which is what made the genre successful in the first place.
[1] A Very British Gangster
2 http://www.filmsite.org/littc.html
3 http://www.imdb.com/title/tt0407887/
4 http://www.averybritishgangster.com/
5 http://www.boxofficemojo.com/movies/?id=scarface.htm
6 http://www.imdb.com/title/tt0002381/
7 Bernink, M. (2000) Page 174
8 http://www.filmsite.org/publ.html
9 http://www.imdb.com/title/tt0023427/
10 http://www.fathom.com/course/10701053/session3.html
11http://www.slideshare.net/Jthomas1/the-effect-of-gangster-culture-on-the-gangster-film-genre-presentation
12 Strinati, D. 2000. Page 76.
13 Bernink, M. 2000. Page 174.
14 http://www.novelguide.com/a/discover/egd_01/egd_01_00212.html
15 Neale, S. 1980
16 Strinati, D. 2000. Page 76.
17 http://www.slideshare.net/Jthomas1/the-effect-of-gangster-culture-on-the-gangster-film-genre-presentation
18 http://www.slideshare.net/mjarry/early-gangster-genre
19 Scarface (1983)
20 http://www.fathom.com/course/10701053/session3.html
21 http://www.imdb.com/title/tt0765429/
22 http://www.alternet.org/media/67362
23 http://uk.imdb.com/title/tt0141842/
24 http://www.telegraph.co.uk/news/uknews/1505277/Six-per-cent-of-population-are-gay-or- lesbian- according-to-Whitehall-figures.html
25 http://www.questia.com/googleScholar.qst;jsessionid=LpjWgJLDKGvWd5h9T44h0FtrQLJ0nxcNT1kWBm4wC5KMSvxsVK2S!1606806381!2038965103?docId=5000424956
26 http://www.genders.org/g35/g35_heartfield.html
27 http://en.wikipedia.org/wiki/Moral_panic
Friday 30 April 2010
Monday 22 March 2010
Progress report
- Finshed most filming
- Uploaded footage
- Played around with tints
- Created filming schedule of what needs to be done
What needs to be done
- Re-film some scenes
- Finish filming by this week
- Start editing by the weekend
- Finalise soundtrack
- Uploaded footage
- Played around with tints
- Created filming schedule of what needs to be done
What needs to be done
- Re-film some scenes
- Finish filming by this week
- Start editing by the weekend
- Finalise soundtrack
2nd Draft of my essay
“By day I am a business man, by night I am the most feared gangster in whole of Manchester.” [1]
An investigation into the on-screen gangster. How have traditional representations changed to reflect the shifting nature of masculinity?
This essay will discuss how the traditional representation of the gangster has changed to reflect the shifting nature of masculinity. We can agree that the gangster genre has come a long way from Mervyn Leroy’s “Little Caesar” (1931) 2 to Martin Scorsese’s “The Departed”(2006) 3, however such alterations would not have occurred if the drastic changes in society did not place. Such changes include equal rights for all individuals, including ethnic minorities, and more recent positive changes for homosexuality. A prime example that exemplifies these changes is “A Very British Gangster” 4 which was produced in 2007 by Donal Macintyre. To outline the changes in gangster films, this essay will compare a contemporary text “A Very British Gangster” to Brian De Palma’s “Scarface” (1983) 5.
The gangster genre has been present for almost a century, arguably originating in D.W. Griffith’s “The Musketeers Of Pig Alley” (1912) 6. More renowned texts produced by Warner Bros, who were famous in the 1930’s for producing classic gangster films7, are William Wellman’s “The Public Enemy” (1931) 8 and Howard Hawks “Scarface” (1932) 9.
The typical ethos behind any gangster’s actions is the ambition to get rich, after migrating from a poor country. Robert Warshow states “ all gangster films typically involves a poor immigrant so desperate for the American dream--money, position, flashy clothes and cars--that he falls prey to a life of crime” 10.
Horatio Alger reinforces this, explaining, “Often migrant’s commit crime in pursuit of wealth, status, and material possessions”, 11 as many white individuals around them have many of these things. This situation is evident in Scarface (1983) as the protagonist is an immigrant migrating from Columbia to the USA, in order to fulfill the American dream. On the other hand, Warshow and Alger’s theories are not evident in “A very British Gangster” suggesting the typical narrative structure has eroded.
However, to counter act the argument that the traditional gangster narrative has eroded, most gangster films have similar endings or morals of the story, “ the death, decline, or successful prosecution of the gangster, provides the conclusive ending the typical narrative demands”.12 As a result, the audience knows what to expect and can project the outcome of the gangsters action; as in reality these actions are unlawful.
Furthermore, the conventional gangster narrative, usually involves a “binary opposition, a sense of law vs. lawless” 13 or “contrast between two men, either related through friendship or kinship, with one of them getting an honest job while the other resorts to crime” 14, so good vs. evil. Binary oppositions are apparent in both films, as the audience is exposed to a battle between law vs. lawless. This convention is still commonly used in most gangster films, as this provides the basis of the narrative.
Traditional gangster films were loosely based on real life characters, for example Howard Hawks “Scarface” which had similar references to the life of Al Capone, a mass criminal of the 1920’s. Such films allowed the nation to identify with characters however at the expense of bringing shame to the nation. 15
Scarface, alongside other gangster films in the 1930’s gave rise to typical codes and conventions used in similar films. These conventions include smart suits, violent activity, murder, weapons and luxury items associated with the lifestyle such as cigars and liquor 16.
Brain De Palma’s Scarface has been a great hit all around the world and appeals to many different audiences. This is mainly due to its realistic storyline, which was based on true events of the 1970’s like the substantial popularity of cocaine. Others are fond of its power and meaningful quotes, as well as the violent imagery used throughout the film.
Another issue in the USA prior to the 1980’s was the amount of migrants moving away from poor, unfortunate countries in hope to find a better standard of living. To reach his ambition, to a lavish lifestyle that only middle-class white groups in society had, he resorted to mass drug dealing and criminal activity. We can say that both Horatio Alger’s and Robert Warshow’s theory has been proven, as they state “all gangster films typically involves a poor immigrant so desperate for the American dream--money, position, flashy clothes and cars--that he falls prey to a life of crime”. 17
Historically, the popularity of cocaine and drug use in the 1970’s was so free flowing and present in society, as law enforcement agencies did not have substantial amount of power, knowledge and expertise in certain fields. However, as times progressed legislation and policing tightened up, with the help of new and digital technology. The police force was able to benefit from CCTV, x-ray examination that helped reduce the amount of drugs being imported and distributed around countries.
After many successful gangster films like Scarface, the entire gangster genre was influenced by the basic codes and conventions used to portray their version of a gangster. This usually involved them wearing smart suits, carry out acts of violence, murder, weapons and luxury items associated with the lifestyle. 18
Films or texts that exemplify such codes and conventions are “Goodfellas”, “The Sopranos” and “The Godfather”. Some films may not adder to these conventions; however they are loosely based around them, for example “The departed (2006)”. The film does not portray the traditional gangster; as he is not seen to be wearing a suit or does not carry violence out directly; instead the protagonist is working undercover for the police. In classical gangster films, this twist or alteration in role would not be present, however due to the change in representation of the gangster, contemporary films are now adapting. This is because, as society changes people’s view or image of a gangster is also altering, therefore directors need to be able to represent a contemporary gangster that the audience can identify with.
This is evident, in films such as Ridley Scott’s “American Gangster” (2007) 19 as the representation of the white gangster has been challenged, as the protagonist is of a black origin. However, the statement that most gangster films often represent a gangster that has migrated from a poor country, in order to chase the “American Dream” can be applied here.
On the other hand, when conventions are broken many issues can arise, for instance after the release of “American Gangster”, many Afro Americans felt the film was reinforcing the stereotype, that most drug dealing was coming from black males. 20
In such situations, the concept of hegemony can be applied, as the dominant groups in society are portraying and passing down their ideologies, about what characters are involved in the majority of crime in the United States.
As a result, people in society may act upon these stereotypes and ideologies, which may lead to certain ethnic groups being treated differently, which may cause a sense of social exclusion.
We can say that my current, up to day text “A Very British Gangster”, shares similarities in codes and conventions with “Scarface” to an extent, however they also differ hugely.
Both films explore gangsters and their ambition to get rich and powerful through acts of violence and criminal activity. However, the protagonist Tony Montana is largely involved in the majority of drug supply in Miami. This is because, the lack of policing and expertise of the law enforcement agencies in the 1970’s, made this sort crime clear-cut.
Typically, gangster films involve the protagonist importing or distributing some sort of illegal substance, which carries a substantial amount of value.
However, this convention is broken in “A Very British Gangster” as the protagonist is carrying on his family tradition to money launder. We can say this type of crime is more common in present times, as the birth of web 2.0 and new and digital media has made fraud and money laundering more accessible.
Furthermore, the use of smart suits and props associated with the lavish and powerful lifestyle of a gangster, such as money and bodyguards, are present in both films. This is to uphold the image of the powerful and superior figure of the gangster. If these characters dressed casually like most citizens, the amount of respect and attention they receive in society would not be substantial.
In classical gangster films, the protagonist was portrayed to show no remorse or emotion.
This was purely because anyone who was seen to show signs of emotion or sentiment was considered to be feminine.
And anyone who was seen to be feminine was stereotyped to be gay or homosexual.
Historically, homosexuality was frowned upon and often people who admitted to it were socially excluded from society. If emotion was shown in the character, the whole image of the raw, ruthless gangster would have been ruined.
However, programs such as “The Sopranos” that focuses primarily on the family and emotional side of the gangster’s life, break the convention of most gangster genre extracts. The program first aired on television in 1999 on HBO 21, which can be used as evidence to suggest why the program is based on the gangster’s emotional life, rather than his violent criminal lifestyle.
As more gangster films were produced, audiences were familiar with the lavish and dangerous lifestyle that was associated with all gangsters. Therefore, they wanted to see how these gangsters dealt with everyday issues that are common to the audience’s life. Consequently, they used this as a form of identification, which broke the traditional convention of most gangster films.
It is fair to say gangster films have changed to represent the zeitgeist; this is because the audience want to see a gangster that represents the current time, so that the audience can identify with certain aspects such as urban settings and demographics that they are familiar with. Also, because new legislation was passed about homosexuality and gay marriages, many individuals feel more protected which therefore allowed them to be open about sexuality. Consequently, directors were able incorporate some emotion into their gangster characters.
This is because; people stereotyped individuals who displayed a sense of femininity in their body language and the manner they spoke in referring to this as “camp”, rather than how much emotion the person showed.
Effectively, the gangster genre was adapted, as directors were able to take the raw and remorseless gangster but presented him with a sense of emotion, whether that being towards his family, friends or sexuality etc.
We can say that globalisation has played an important role here; this is because once one film broke the convention, other directors incorporated similar aspects of emotion in their gangster protagonists. Also, audiences started to accept the new representation of the gangster that portrayed some emotion.
This is evident in “A Very British Gangster”, as the protagonist opening admits to being homosexual. However, the gangster bravado is not tarnished, as he is still seen to be involved in a substantial amount of violent activity and is still portraying the traditional gangster ethos. For example, in a number of scenes we see the protagonist looking after his neighbourhood, who rely on him more than the police force. This is a traditional element of a gangster’s role, as he protects and resolves many local disputes. Audiences and people in general are more accepting of the protagonist’s sexuality, as he plays a significant role in society and carries out the traditional function of a masculine gangster. Also due to the fact that homosexuality is becoming more popular in society, people have to become more accepting; In the UK alone, “one in sixteen or 3.6million of the population are gay or lesbian”. 21
Due to the rise in the amount of homosexuals in society and the changing nature of the male, where he is seen to be showing more emotion, thus giving rise to the “new man”, there is a constant argument and issue being raised about the “masculinity crisis”. 22
Men are called upon to act the part of the victim, by getting in touch with their emotional side;23 people think the traditional strong, masculine image is threatened. However, the typical roles that most males play in society are still present. We can say this is a moral panic,24 as it is an issue that has been blown out of proportion, to create publicity and sell.
To conclude, I believe the on screen representation of the gangster has been altered to reflect the shifting zeitgeist. Because males are able to demonstrate a sense of emotion, without being stereotyped as a homosexual, has allowed directors to include a sense of emotion in the gangster character. This was so that the audience can use this as a form of identification, as well as being able to include the typical gangster ethos to get rich and powerful, which attracted a larger audience.
[1] A very British Gangster
2 http://www.filmsite.org/littc.html
3 http://www.imdb.com/title/tt0407887/
4 http://www.averybritishgangster.com/
5 http://www.boxofficemojo.com/movies/?id=scarface.htm
6 http://www.imdb.com/title/tt0002381/
7 Bernink, M. (2000) Page 174
8 http://www.filmsite.org/publ.html
9 http://www.imdb.com/title/tt0023427/
10 http://www.fathom.com/course/10701053/session3.html
11http://www.slideshare.net/Jthomas1/the-effect-of-gangster-culture-on-the-gangster-film-genre-presentation
12 Strinati, D. 2000. Page 76
13 Bernink, Meike. 2000. Page 174
14 http://www.novelguide.com/a/discover/egd_01/egd_01_00212.html
15 http://www.slideshare.net/Jthomas1/the-effect-of-gangster-culture-on-the-gangster-film-genre-presentation
16 http://www.slideshare.net/mjarry/early-gangster-genre
17 http://www.fathom.com/course/10701053/session3.html
18 http://www.slideshare.net/mjarry/early-gangster-genre
19 http://www.imdb.com/title/tt0765429/
20 http://www.alternet.org/media/67362
21 http://uk.imdb.com/title/tt0141842/
21 http://www.telegraph.co.uk/news/uknews/1505277/Six-per-cent-of-population-are-gay-or- lesbian-according-to-Whitehall-figures.html
22 http://www.questia.com/googleScholar.qst;jsessionid=LpjWgJLDKGvWd5h9T44h0FtrQLJ0nxcNT1kWBm4wC5KMSvxsVK2S!1606806381!2038965103?docId=5000424956
23 http://www.genders.org/g35/g35_heartfield.html
24 http://en.wikipedia.org/wiki/Moral_panic
An investigation into the on-screen gangster. How have traditional representations changed to reflect the shifting nature of masculinity?
This essay will discuss how the traditional representation of the gangster has changed to reflect the shifting nature of masculinity. We can agree that the gangster genre has come a long way from Mervyn Leroy’s “Little Caesar” (1931) 2 to Martin Scorsese’s “The Departed”(2006) 3, however such alterations would not have occurred if the drastic changes in society did not place. Such changes include equal rights for all individuals, including ethnic minorities, and more recent positive changes for homosexuality. A prime example that exemplifies these changes is “A Very British Gangster” 4 which was produced in 2007 by Donal Macintyre. To outline the changes in gangster films, this essay will compare a contemporary text “A Very British Gangster” to Brian De Palma’s “Scarface” (1983) 5.
The gangster genre has been present for almost a century, arguably originating in D.W. Griffith’s “The Musketeers Of Pig Alley” (1912) 6. More renowned texts produced by Warner Bros, who were famous in the 1930’s for producing classic gangster films7, are William Wellman’s “The Public Enemy” (1931) 8 and Howard Hawks “Scarface” (1932) 9.
The typical ethos behind any gangster’s actions is the ambition to get rich, after migrating from a poor country. Robert Warshow states “ all gangster films typically involves a poor immigrant so desperate for the American dream--money, position, flashy clothes and cars--that he falls prey to a life of crime” 10.
Horatio Alger reinforces this, explaining, “Often migrant’s commit crime in pursuit of wealth, status, and material possessions”, 11 as many white individuals around them have many of these things. This situation is evident in Scarface (1983) as the protagonist is an immigrant migrating from Columbia to the USA, in order to fulfill the American dream. On the other hand, Warshow and Alger’s theories are not evident in “A very British Gangster” suggesting the typical narrative structure has eroded.
However, to counter act the argument that the traditional gangster narrative has eroded, most gangster films have similar endings or morals of the story, “ the death, decline, or successful prosecution of the gangster, provides the conclusive ending the typical narrative demands”.12 As a result, the audience knows what to expect and can project the outcome of the gangsters action; as in reality these actions are unlawful.
Furthermore, the conventional gangster narrative, usually involves a “binary opposition, a sense of law vs. lawless” 13 or “contrast between two men, either related through friendship or kinship, with one of them getting an honest job while the other resorts to crime” 14, so good vs. evil. Binary oppositions are apparent in both films, as the audience is exposed to a battle between law vs. lawless. This convention is still commonly used in most gangster films, as this provides the basis of the narrative.
Traditional gangster films were loosely based on real life characters, for example Howard Hawks “Scarface” which had similar references to the life of Al Capone, a mass criminal of the 1920’s. Such films allowed the nation to identify with characters however at the expense of bringing shame to the nation. 15
Scarface, alongside other gangster films in the 1930’s gave rise to typical codes and conventions used in similar films. These conventions include smart suits, violent activity, murder, weapons and luxury items associated with the lifestyle such as cigars and liquor 16.
Brain De Palma’s Scarface has been a great hit all around the world and appeals to many different audiences. This is mainly due to its realistic storyline, which was based on true events of the 1970’s like the substantial popularity of cocaine. Others are fond of its power and meaningful quotes, as well as the violent imagery used throughout the film.
Another issue in the USA prior to the 1980’s was the amount of migrants moving away from poor, unfortunate countries in hope to find a better standard of living. To reach his ambition, to a lavish lifestyle that only middle-class white groups in society had, he resorted to mass drug dealing and criminal activity. We can say that both Horatio Alger’s and Robert Warshow’s theory has been proven, as they state “all gangster films typically involves a poor immigrant so desperate for the American dream--money, position, flashy clothes and cars--that he falls prey to a life of crime”. 17
Historically, the popularity of cocaine and drug use in the 1970’s was so free flowing and present in society, as law enforcement agencies did not have substantial amount of power, knowledge and expertise in certain fields. However, as times progressed legislation and policing tightened up, with the help of new and digital technology. The police force was able to benefit from CCTV, x-ray examination that helped reduce the amount of drugs being imported and distributed around countries.
After many successful gangster films like Scarface, the entire gangster genre was influenced by the basic codes and conventions used to portray their version of a gangster. This usually involved them wearing smart suits, carry out acts of violence, murder, weapons and luxury items associated with the lifestyle. 18
Films or texts that exemplify such codes and conventions are “Goodfellas”, “The Sopranos” and “The Godfather”. Some films may not adder to these conventions; however they are loosely based around them, for example “The departed (2006)”. The film does not portray the traditional gangster; as he is not seen to be wearing a suit or does not carry violence out directly; instead the protagonist is working undercover for the police. In classical gangster films, this twist or alteration in role would not be present, however due to the change in representation of the gangster, contemporary films are now adapting. This is because, as society changes people’s view or image of a gangster is also altering, therefore directors need to be able to represent a contemporary gangster that the audience can identify with.
This is evident, in films such as Ridley Scott’s “American Gangster” (2007) 19 as the representation of the white gangster has been challenged, as the protagonist is of a black origin. However, the statement that most gangster films often represent a gangster that has migrated from a poor country, in order to chase the “American Dream” can be applied here.
On the other hand, when conventions are broken many issues can arise, for instance after the release of “American Gangster”, many Afro Americans felt the film was reinforcing the stereotype, that most drug dealing was coming from black males. 20
In such situations, the concept of hegemony can be applied, as the dominant groups in society are portraying and passing down their ideologies, about what characters are involved in the majority of crime in the United States.
As a result, people in society may act upon these stereotypes and ideologies, which may lead to certain ethnic groups being treated differently, which may cause a sense of social exclusion.
We can say that my current, up to day text “A Very British Gangster”, shares similarities in codes and conventions with “Scarface” to an extent, however they also differ hugely.
Both films explore gangsters and their ambition to get rich and powerful through acts of violence and criminal activity. However, the protagonist Tony Montana is largely involved in the majority of drug supply in Miami. This is because, the lack of policing and expertise of the law enforcement agencies in the 1970’s, made this sort crime clear-cut.
Typically, gangster films involve the protagonist importing or distributing some sort of illegal substance, which carries a substantial amount of value.
However, this convention is broken in “A Very British Gangster” as the protagonist is carrying on his family tradition to money launder. We can say this type of crime is more common in present times, as the birth of web 2.0 and new and digital media has made fraud and money laundering more accessible.
Furthermore, the use of smart suits and props associated with the lavish and powerful lifestyle of a gangster, such as money and bodyguards, are present in both films. This is to uphold the image of the powerful and superior figure of the gangster. If these characters dressed casually like most citizens, the amount of respect and attention they receive in society would not be substantial.
In classical gangster films, the protagonist was portrayed to show no remorse or emotion.
This was purely because anyone who was seen to show signs of emotion or sentiment was considered to be feminine.
And anyone who was seen to be feminine was stereotyped to be gay or homosexual.
Historically, homosexuality was frowned upon and often people who admitted to it were socially excluded from society. If emotion was shown in the character, the whole image of the raw, ruthless gangster would have been ruined.
However, programs such as “The Sopranos” that focuses primarily on the family and emotional side of the gangster’s life, break the convention of most gangster genre extracts. The program first aired on television in 1999 on HBO 21, which can be used as evidence to suggest why the program is based on the gangster’s emotional life, rather than his violent criminal lifestyle.
As more gangster films were produced, audiences were familiar with the lavish and dangerous lifestyle that was associated with all gangsters. Therefore, they wanted to see how these gangsters dealt with everyday issues that are common to the audience’s life. Consequently, they used this as a form of identification, which broke the traditional convention of most gangster films.
It is fair to say gangster films have changed to represent the zeitgeist; this is because the audience want to see a gangster that represents the current time, so that the audience can identify with certain aspects such as urban settings and demographics that they are familiar with. Also, because new legislation was passed about homosexuality and gay marriages, many individuals feel more protected which therefore allowed them to be open about sexuality. Consequently, directors were able incorporate some emotion into their gangster characters.
This is because; people stereotyped individuals who displayed a sense of femininity in their body language and the manner they spoke in referring to this as “camp”, rather than how much emotion the person showed.
Effectively, the gangster genre was adapted, as directors were able to take the raw and remorseless gangster but presented him with a sense of emotion, whether that being towards his family, friends or sexuality etc.
We can say that globalisation has played an important role here; this is because once one film broke the convention, other directors incorporated similar aspects of emotion in their gangster protagonists. Also, audiences started to accept the new representation of the gangster that portrayed some emotion.
This is evident in “A Very British Gangster”, as the protagonist opening admits to being homosexual. However, the gangster bravado is not tarnished, as he is still seen to be involved in a substantial amount of violent activity and is still portraying the traditional gangster ethos. For example, in a number of scenes we see the protagonist looking after his neighbourhood, who rely on him more than the police force. This is a traditional element of a gangster’s role, as he protects and resolves many local disputes. Audiences and people in general are more accepting of the protagonist’s sexuality, as he plays a significant role in society and carries out the traditional function of a masculine gangster. Also due to the fact that homosexuality is becoming more popular in society, people have to become more accepting; In the UK alone, “one in sixteen or 3.6million of the population are gay or lesbian”. 21
Due to the rise in the amount of homosexuals in society and the changing nature of the male, where he is seen to be showing more emotion, thus giving rise to the “new man”, there is a constant argument and issue being raised about the “masculinity crisis”. 22
Men are called upon to act the part of the victim, by getting in touch with their emotional side;23 people think the traditional strong, masculine image is threatened. However, the typical roles that most males play in society are still present. We can say this is a moral panic,24 as it is an issue that has been blown out of proportion, to create publicity and sell.
To conclude, I believe the on screen representation of the gangster has been altered to reflect the shifting zeitgeist. Because males are able to demonstrate a sense of emotion, without being stereotyped as a homosexual, has allowed directors to include a sense of emotion in the gangster character. This was so that the audience can use this as a form of identification, as well as being able to include the typical gangster ethos to get rich and powerful, which attracted a larger audience.
[1] A very British Gangster
2 http://www.filmsite.org/littc.html
3 http://www.imdb.com/title/tt0407887/
4 http://www.averybritishgangster.com/
5 http://www.boxofficemojo.com/movies/?id=scarface.htm
6 http://www.imdb.com/title/tt0002381/
7 Bernink, M. (2000) Page 174
8 http://www.filmsite.org/publ.html
9 http://www.imdb.com/title/tt0023427/
10 http://www.fathom.com/course/10701053/session3.html
11http://www.slideshare.net/Jthomas1/the-effect-of-gangster-culture-on-the-gangster-film-genre-presentation
12 Strinati, D. 2000. Page 76
13 Bernink, Meike. 2000. Page 174
14 http://www.novelguide.com/a/discover/egd_01/egd_01_00212.html
15 http://www.slideshare.net/Jthomas1/the-effect-of-gangster-culture-on-the-gangster-film-genre-presentation
16 http://www.slideshare.net/mjarry/early-gangster-genre
17 http://www.fathom.com/course/10701053/session3.html
18 http://www.slideshare.net/mjarry/early-gangster-genre
19 http://www.imdb.com/title/tt0765429/
20 http://www.alternet.org/media/67362
21 http://uk.imdb.com/title/tt0141842/
21 http://www.telegraph.co.uk/news/uknews/1505277/Six-per-cent-of-population-are-gay-or- lesbian-according-to-Whitehall-figures.html
22 http://www.questia.com/googleScholar.qst;jsessionid=LpjWgJLDKGvWd5h9T44h0FtrQLJ0nxcNT1kWBm4wC5KMSvxsVK2S!1606806381!2038965103?docId=5000424956
23 http://www.genders.org/g35/g35_heartfield.html
24 http://en.wikipedia.org/wiki/Moral_panic
Thursday 18 March 2010
Personalized Plan
- More primary research into theories
- Also, into gangster film ideologies
- References to the contemporary film needs to be made alot more frequently
- Improve my writing structure
- Use my quotes more effectively
- Discuss the contemporary film in more detail and make reference to it more frequently
- Improve language and use more effective connectives
Saturday 13 March 2010
Self assessment
I think my mark is around the level 2 boundary, as i have carried out some research and explored some key concepts. I order to raise my grade i need to carry out more primary research and identify more issues and debates. Also, by discussing my contemporary text is more detail and a lot more frequently i will be able to achieve and move into the higher grade boundaries.
Weekly Progress
- Filming has began
- Script for voiceover has been finished
- All characters established
- And we know exactly what we need to film
What needs to be done
- Continue filming
- Finish filming
- Record voiceover
- Start editing
Sunday 7 March 2010
Weekly progress
- Story boards finished and our group is happy
- Location is found
- Started on the script for the voiceover
- Found music for the production
What needs to be done
- Filming needs to start
- Additional possible filler shots
- Group with actors and fill them in with what they need to do
Monday 1 March 2010
Weekly Progress work
Done so far
- As a group we have done 40 story boards, outlining the storyline that we will tell the audience.
- Also exactly how and what sequence the opneing sequence will take
- The location that the film will be set in
- The equipment that we will be using
What needs to be done
- Start filming and experimenting
- Finalise shots we are going to use
- Find music for the production or make sure that will be done on time
- Finalise accent on voice-over and what roughly is going to be said
- As a group we have done 40 story boards, outlining the storyline that we will tell the audience.
- Also exactly how and what sequence the opneing sequence will take
- The location that the film will be set in
- The equipment that we will be using
What needs to be done
- Start filming and experimenting
- Finalise shots we are going to use
- Find music for the production or make sure that will be done on time
- Finalise accent on voice-over and what roughly is going to be said
Saturday 20 February 2010
Production Brief
Check out this SlideShare Presentation:
Production Brief
View more presentations from guest35c7187c.
Wednesday 17 February 2010
Half Term Homework
WWW
-Identified audience - Rehearsed
-Stereotypes - Referred to Zeitgeist
-Simple - Wider audiences
-Emotion - Used Media Terminology
-Races - New Demographics
-Homosexual - Confident
-Examples
-Binary Oppositions
EBI
- Keep suits as a convention
- No extremes
- Theorists
- Females
Action Plan for production
Week 1 - Come up with full storyline and sketch story boards
Week 2 - Identify characters and setting of film. Also research as we progress
Week 3 - Start filming and complete filming
Week 4 - Seep through footage, start editing and agree on what shots and footage to use
Week 5 - Finish editing and complete production
Weekly progress
we have already come up with our storyline and established how the production will be shot. Also the narrative structure and what will shown to the audience.
Research into Genre
Alot of the research found whilst producing our essay for the critical investigation is going to be used. As it is relevant for our essay titles and the linked production. Any further information on genre required for our production will be found. During the process of the production.
Films such as Snatch, Lockstock as well as Adulthood have been considered and revised in order to produce our production.
Wednesday 3 February 2010
1st draft of coursework
“By day I am a business man, by night I am the most feared gangster in whole of Manchester”
“An investigation into the on-screen gangster. How have traditional representation changed to reflect the shifting nature of masculinity?”
This essay will discuss how the traditional representation of the gangster has changed to reflect the shifting nature of masculinity. We can agree that the gangster genre has come a long way from Mervyn Leroy’s “Little Caesar” (1931) to Martin Scorsese “The Departed”(2006), however such alterations would not have occurred if the drastic changes in society did not place. Such changes include equal rights for all individuals including ethnic minorities and a more recent change for homosexuality. A primary example that exemplifies these changes is “A Very British Gangster” which was produced in 2007 by Donal Macintyre. To outline the change in gangster films, I will compare my current text “A Very British Gangster” to Brian De Palma’s “Scarface” (1983).
The gangster genre has been present for almost a century, due to D.W. Griffith’s “The Musketeers Of Pig Alley” (1912), who was the first to make a mark on the gangster/crime genre. More renowned texts produced by Warner Bros, who were famous in the 1930’s for producing classic gangster films1, are William Wellman’s “The Public Enemy” and Howard Hawks “Scarface”.
The typical ethos behind any gangster’s actions is the ambition to get rich, after migrating from a poor country. A theorist who introduced this theory was Robert Warshow who stated “ all gangster films typically involves a poor immigrant so desperate for the American dream--money, position, flashy clothes and cars--that he falls prey to a life of crime”2.
In addition, migrants who are the gangsters, carry out criminal activity in order to achieve “The American Dream” which was a theory of Horatio Alger. He stated that often migrants commit crime in pursuit of wealth, status, and material possessions3, as many individuals around them have many of these things. The narrative usually involves a “binary opposition, a sense of law vs. lawless” 4 or contrast between two men, either related through friendship or kinship, with one of them getting an honest job while the other resorts to crime5, so good vs. evil.
Traditional gangster films were loosely based on real life characters for example Howard Hawks “Scarface” which had similar references to the life of Al Capone, a mass criminal of the 1920’s. Such films allowed the nation to identify with characters however at the expense of bringing shame to the nation6 .
Scarface, alongside other gangster films in the 1930’s gave rise to typical codes and conventions used in similar films. These conventions include smart suits, violent activity, murder, weapons and luxury items associated with the lifestyle such as cigars and liquor7 .
My historical text, Brain De Palma’s Scarface has been a great hit all around the world and appeals to many different audiences. This is mainly due to its realistic storyline, which was based on true events of the 1970’s like the substantial use of cocaine. Others are fond of its power and meaningful quotes, as well as the violent imagery used throughout the film.
Another issue in the USA prior to the 1980’s was the amount of migrants moving away from poor, unfortunate countries in hope to find a better standard of living. The film demonstrates this flee of refugees, as the main character Tony Montana has arrived in the USA from Columbia. He is stunned by the amount of rich people around him and desires for a life similar to theirs. To reach his ambition, to a lavish lifestyle that only middleclass white groups in society had, he resorted to mass drug dealing and criminal activity. We can say that both Horatio Alger’s and Robert Warshow’s theory has been proven, as they state “all gangster films typically involves a poor immigrant so desperate for the American dream--money, position, flashy clothes and cars--that he falls prey to a life of crime”8 .
This aspect of realism, allowed a large number of audience to identify with the text, as they were able to recognize the struggles that the protagonist dealt with, settling in a new country. Consequently, they were intrigued and consumed the text alongside millions of viewers around the world.
Historically, the popularity of cocaine and drug use in the 1970’s was so free flowing and present in society, as law enforcement agencies did not have substantial amount of power, knowledge and expertise in certain fields. However globally, all governments knew something had to be done, in order to reduce or eliminate the drugs being imported into their country. As a result, legislation was tightened up which meant there was a more severe punishment for anyone caught trying to import any sort of illegal drug. Also, the amount of law enforcement agencies that aided the police clamping down on drug dealers was increased and the government introduced specialists that dealt specifically with the drug world.
After many successful gangster films like Scarface, the entire gangster genre was influenced by the basic codes and conventions used to portray their version of a gangster. This usually involved them wearing smart suits, carry out acts of violence, murder, weapons and luxury items associated with the lifestyle.9
Films or texts that exemplify such codes and conventions are “Goodfellas”, “The Sopranos” and “The Godfather”. Some films may not adder to these conventions; however they are loosely based around them, for example “The departed (2006)”. The film does not portray the traditional gangster; as he is not seen to be wearing a suit or does not carry violence out directly; instead the police have him working for them. In classical gangster films, this twist or alteration in role would not be present, however due to the change in representation of the gangster, contemporary films are now adapting. This is because, as society changes people’s view or image of a gangster is also altering, therefore directors need to be able to represent a contemporary gangster that the audience can identify with.
This is evident, in films such as Ridley Scott’s “American Gangster” (2007)10 as the representation of the white gangster has been challenged, as the protagonist is of a black origin. However, the statement that most gangster films often represent a gangster that has migrated from a poor country, in order to chase the “American Dream” can be applied here. On the other hand, when conventions are broken many issues can arise, for instance after the release of “American Gangster”, many Afro Americans felt the film was reinforcing the stereotype, that most drug dealing was coming from black males.11
In such situations, the concept of hegemony can be applied, as the dominant groups in society are portraying and passing down their ideologies, about what characters are involved in the majority of crime in the United States.
As a result, people in society may act upon these stereotypes and ideologies, which may lead to certain ethnic groups being treated differently, which may cause a sense of social exclusion.
We can say that my current, up to day text “A Very British Gangster”, shares similarities in codes and conventions with “Scarface” to an extent, however they also differ hugely.
Both films explore gangsters and their ambition to get rich and powerful through acts of violence and criminal activity. However, the protagonist Tony Montana is largely involved in the majority of drug supply in Miami. This is because, the lack of policing and expertise of the law enforcement agencies in the 1970’s, made this sort crime clear-cut.
Typically, gangster films involve the protagonist importing or distributing some sort of illegal substance, which carries a substantial amount of value.
However, this convention is broken in “A Very British Gangster” as the protagonist is carrying on his family tradition to money launder. We can say this type of crime is more common in present times, as the birth of web 2.0 and the internet has made fraud and money laundering more accessible.
Furthermore, the use of smart suits and props associated with the lavish and powerful lifestyle of a gangster, such as money and bodyguards, are present in both films. This is to uphold the image of the powerful and superior figure of the gangster. If these characters dressed casually like most citizens, the amount of respect and attention they receive in society would not be substantial.
In classical gangster films, the protagonist was portrayed to show no remorse or emotion.
This was purely because anyone who was seen to show signs of emotion or sentiment was considered to be feminine.
And anyone who was seen to be feminine was stereotyped to be gay or homosexual.
Historically, homosexuality was frowned upon and often people who admitted to it were socially excluded from society. If emotion was shown in the character, the whole image of the raw, ruthless gangster would have been ruined.
However, programs such as “The Sopranos” that focuses primarily on the family and emotional side of the gangster’s life break the convention of most gangster genre extracts. The program first aired on television in 1999 on HBO12 , which can be used as evidence to suggest why the program is based on the gangster’s emotional life, rather than his violent criminal lifestyle.
As more gangster films were produced, audiences were familiar with the lavish and dangerous lifestyle that was associated with all gangsters. Therefore, they wanted to see how these gangsters dealt with everyday issues that are common to the audience’s life. Consequently, they used this as a form of identification, which broke the traditional convention of most gangster films.
It is fair to say gangster films change to represent the zeitgeist; this is because the audience wants to see a gangster that represents the current time, so that the audience can identify with certain aspects such as urban settings and demographics that are familiar to them. Also, because new legislation was passed about homosexuality and gay marriages, many individuals feel more protected which therefore allowed them to be open about sexuality. This meant that directors were able incorporate some emotion in their gangster characters. This is because; people started stereotyping individuals who displayed a sense of femininity in their body language and the manner they spoke in referring to this as camp, rather than how much emotion the person showed.
Effectively, the gangster genre was adapted, as directors were able to take the raw and remorseless gangster but presented him with a sense of emotion, whether that being towards his family, friends or sexuality etc.
This is evident in “A Very British Gangster”, as the protagonist opening admits to being homosexual. However, the gangster bravado is not tarnished, as he is still seen to be involved in a substantial amount of violent activity and is still portraying the traditional gangster ethos. For example, in a number of scenes we see the protagonist looking after his neighbourhood, who rely on him more than the police force. This is a traditional element of a gangster’s role, as he protects and resolves many local disputes. Audiences and people in general are more accepting of the protagonist’s sexuality, as he plays a significant role in society and carries out the traditional function of a masculine gangster. Also due to the fact that homosexuality is becoming more popular in society, people have to become more accepting; In the UK alone, “one in sixteen or 3.6million of the population are gay or lesbian” 13 .
Due to the rise in the amount of homosexuals in society and the changing nature of the male, where he is seen to be showing more emotion, thus giving rise to the “new man”, there is a constant argument and issue being raised about the “masculinity crisis”. 14
Men are called upon to act the part of the victim, by getting in touch with their emotional side; 15 people think the traditional strong, masculine image is threatened. However, the typical roles that most males play in society are still present. We can this is a moral panic, 16 as it is an issue that has been blown out of proportion, to create publicity and sell.
To conclude, I believe the on screen representation of the gangster has been altered to reflect the shifting zeitgeist. Because males are able to demonstrate a sense of emotion, without being stereotyped as a homosexual, has allowed directors to include a sense of emotion in the gangster character. This was so that the audience can use this as a form of identification, as well as being able to include the typical gangster ethos to get rich and powerful, which attracted a larger audience.
Biblography
1 Bernink, Meike. The Cinema Book 2nd Edition. 2 Sub ed. London: British Film Institute, 2000. Print
2 http://www.fathom.com/course/10701053/session3.html
3 http://www.slideshare.net/Jthomas1/the-effect-of-gangster-culture-on-the-gangster-film-genre-presentation
4 Bernink, Meike. The Cinema Book 2nd Edition. 2 Sub ed. London: British Film Institute, 2000. Print
5 http://www.novelguide.com/a/discover/egd_01/egd_01_00212.html
6 http://www.slideshare.net/Jthomas1/the-effect-of-gangster-culture-on-the-gangster-film-genre-presentation
7 http://www.slideshare.net/mjarry/early-gangster-genre
8 http://www.fathom.com/course/10701053/session3.html
9 http://www.slideshare.net/mjarry/early-gangster-genre
10 http://www.imdb.com/title/tt0765429/
11 http://www.alternet.org/media/67362
12 http://en.wikipedia.org/wiki/The_Sopranos
13 http://www.telegraph.co.uk/news/uknews/1505277/Six-per-cent-of-population-are-gay-or-lesbian-according-to-Whitehall-figures.html
14http://www.questia.com/googleScholar.qst;jsessionid=LpjWgJLDKGvWd5h9T44h0FtrQLJ0nxcNT1kWBm4wC5KMSvxsVK2S!1606806381!2038965103?docId=5000424956
15 http://www.genders.org/g35/g35_heartfield.html
“An investigation into the on-screen gangster. How have traditional representation changed to reflect the shifting nature of masculinity?”
This essay will discuss how the traditional representation of the gangster has changed to reflect the shifting nature of masculinity. We can agree that the gangster genre has come a long way from Mervyn Leroy’s “Little Caesar” (1931) to Martin Scorsese “The Departed”(2006), however such alterations would not have occurred if the drastic changes in society did not place. Such changes include equal rights for all individuals including ethnic minorities and a more recent change for homosexuality. A primary example that exemplifies these changes is “A Very British Gangster” which was produced in 2007 by Donal Macintyre. To outline the change in gangster films, I will compare my current text “A Very British Gangster” to Brian De Palma’s “Scarface” (1983).
The gangster genre has been present for almost a century, due to D.W. Griffith’s “The Musketeers Of Pig Alley” (1912), who was the first to make a mark on the gangster/crime genre. More renowned texts produced by Warner Bros, who were famous in the 1930’s for producing classic gangster films1, are William Wellman’s “The Public Enemy” and Howard Hawks “Scarface”.
The typical ethos behind any gangster’s actions is the ambition to get rich, after migrating from a poor country. A theorist who introduced this theory was Robert Warshow who stated “ all gangster films typically involves a poor immigrant so desperate for the American dream--money, position, flashy clothes and cars--that he falls prey to a life of crime”2.
In addition, migrants who are the gangsters, carry out criminal activity in order to achieve “The American Dream” which was a theory of Horatio Alger. He stated that often migrants commit crime in pursuit of wealth, status, and material possessions3, as many individuals around them have many of these things. The narrative usually involves a “binary opposition, a sense of law vs. lawless” 4 or contrast between two men, either related through friendship or kinship, with one of them getting an honest job while the other resorts to crime5, so good vs. evil.
Traditional gangster films were loosely based on real life characters for example Howard Hawks “Scarface” which had similar references to the life of Al Capone, a mass criminal of the 1920’s. Such films allowed the nation to identify with characters however at the expense of bringing shame to the nation6 .
Scarface, alongside other gangster films in the 1930’s gave rise to typical codes and conventions used in similar films. These conventions include smart suits, violent activity, murder, weapons and luxury items associated with the lifestyle such as cigars and liquor7 .
My historical text, Brain De Palma’s Scarface has been a great hit all around the world and appeals to many different audiences. This is mainly due to its realistic storyline, which was based on true events of the 1970’s like the substantial use of cocaine. Others are fond of its power and meaningful quotes, as well as the violent imagery used throughout the film.
Another issue in the USA prior to the 1980’s was the amount of migrants moving away from poor, unfortunate countries in hope to find a better standard of living. The film demonstrates this flee of refugees, as the main character Tony Montana has arrived in the USA from Columbia. He is stunned by the amount of rich people around him and desires for a life similar to theirs. To reach his ambition, to a lavish lifestyle that only middleclass white groups in society had, he resorted to mass drug dealing and criminal activity. We can say that both Horatio Alger’s and Robert Warshow’s theory has been proven, as they state “all gangster films typically involves a poor immigrant so desperate for the American dream--money, position, flashy clothes and cars--that he falls prey to a life of crime”8 .
This aspect of realism, allowed a large number of audience to identify with the text, as they were able to recognize the struggles that the protagonist dealt with, settling in a new country. Consequently, they were intrigued and consumed the text alongside millions of viewers around the world.
Historically, the popularity of cocaine and drug use in the 1970’s was so free flowing and present in society, as law enforcement agencies did not have substantial amount of power, knowledge and expertise in certain fields. However globally, all governments knew something had to be done, in order to reduce or eliminate the drugs being imported into their country. As a result, legislation was tightened up which meant there was a more severe punishment for anyone caught trying to import any sort of illegal drug. Also, the amount of law enforcement agencies that aided the police clamping down on drug dealers was increased and the government introduced specialists that dealt specifically with the drug world.
After many successful gangster films like Scarface, the entire gangster genre was influenced by the basic codes and conventions used to portray their version of a gangster. This usually involved them wearing smart suits, carry out acts of violence, murder, weapons and luxury items associated with the lifestyle.9
Films or texts that exemplify such codes and conventions are “Goodfellas”, “The Sopranos” and “The Godfather”. Some films may not adder to these conventions; however they are loosely based around them, for example “The departed (2006)”. The film does not portray the traditional gangster; as he is not seen to be wearing a suit or does not carry violence out directly; instead the police have him working for them. In classical gangster films, this twist or alteration in role would not be present, however due to the change in representation of the gangster, contemporary films are now adapting. This is because, as society changes people’s view or image of a gangster is also altering, therefore directors need to be able to represent a contemporary gangster that the audience can identify with.
This is evident, in films such as Ridley Scott’s “American Gangster” (2007)10 as the representation of the white gangster has been challenged, as the protagonist is of a black origin. However, the statement that most gangster films often represent a gangster that has migrated from a poor country, in order to chase the “American Dream” can be applied here. On the other hand, when conventions are broken many issues can arise, for instance after the release of “American Gangster”, many Afro Americans felt the film was reinforcing the stereotype, that most drug dealing was coming from black males.11
In such situations, the concept of hegemony can be applied, as the dominant groups in society are portraying and passing down their ideologies, about what characters are involved in the majority of crime in the United States.
As a result, people in society may act upon these stereotypes and ideologies, which may lead to certain ethnic groups being treated differently, which may cause a sense of social exclusion.
We can say that my current, up to day text “A Very British Gangster”, shares similarities in codes and conventions with “Scarface” to an extent, however they also differ hugely.
Both films explore gangsters and their ambition to get rich and powerful through acts of violence and criminal activity. However, the protagonist Tony Montana is largely involved in the majority of drug supply in Miami. This is because, the lack of policing and expertise of the law enforcement agencies in the 1970’s, made this sort crime clear-cut.
Typically, gangster films involve the protagonist importing or distributing some sort of illegal substance, which carries a substantial amount of value.
However, this convention is broken in “A Very British Gangster” as the protagonist is carrying on his family tradition to money launder. We can say this type of crime is more common in present times, as the birth of web 2.0 and the internet has made fraud and money laundering more accessible.
Furthermore, the use of smart suits and props associated with the lavish and powerful lifestyle of a gangster, such as money and bodyguards, are present in both films. This is to uphold the image of the powerful and superior figure of the gangster. If these characters dressed casually like most citizens, the amount of respect and attention they receive in society would not be substantial.
In classical gangster films, the protagonist was portrayed to show no remorse or emotion.
This was purely because anyone who was seen to show signs of emotion or sentiment was considered to be feminine.
And anyone who was seen to be feminine was stereotyped to be gay or homosexual.
Historically, homosexuality was frowned upon and often people who admitted to it were socially excluded from society. If emotion was shown in the character, the whole image of the raw, ruthless gangster would have been ruined.
However, programs such as “The Sopranos” that focuses primarily on the family and emotional side of the gangster’s life break the convention of most gangster genre extracts. The program first aired on television in 1999 on HBO12 , which can be used as evidence to suggest why the program is based on the gangster’s emotional life, rather than his violent criminal lifestyle.
As more gangster films were produced, audiences were familiar with the lavish and dangerous lifestyle that was associated with all gangsters. Therefore, they wanted to see how these gangsters dealt with everyday issues that are common to the audience’s life. Consequently, they used this as a form of identification, which broke the traditional convention of most gangster films.
It is fair to say gangster films change to represent the zeitgeist; this is because the audience wants to see a gangster that represents the current time, so that the audience can identify with certain aspects such as urban settings and demographics that are familiar to them. Also, because new legislation was passed about homosexuality and gay marriages, many individuals feel more protected which therefore allowed them to be open about sexuality. This meant that directors were able incorporate some emotion in their gangster characters. This is because; people started stereotyping individuals who displayed a sense of femininity in their body language and the manner they spoke in referring to this as camp, rather than how much emotion the person showed.
Effectively, the gangster genre was adapted, as directors were able to take the raw and remorseless gangster but presented him with a sense of emotion, whether that being towards his family, friends or sexuality etc.
This is evident in “A Very British Gangster”, as the protagonist opening admits to being homosexual. However, the gangster bravado is not tarnished, as he is still seen to be involved in a substantial amount of violent activity and is still portraying the traditional gangster ethos. For example, in a number of scenes we see the protagonist looking after his neighbourhood, who rely on him more than the police force. This is a traditional element of a gangster’s role, as he protects and resolves many local disputes. Audiences and people in general are more accepting of the protagonist’s sexuality, as he plays a significant role in society and carries out the traditional function of a masculine gangster. Also due to the fact that homosexuality is becoming more popular in society, people have to become more accepting; In the UK alone, “one in sixteen or 3.6million of the population are gay or lesbian” 13 .
Due to the rise in the amount of homosexuals in society and the changing nature of the male, where he is seen to be showing more emotion, thus giving rise to the “new man”, there is a constant argument and issue being raised about the “masculinity crisis”. 14
Men are called upon to act the part of the victim, by getting in touch with their emotional side; 15 people think the traditional strong, masculine image is threatened. However, the typical roles that most males play in society are still present. We can this is a moral panic, 16 as it is an issue that has been blown out of proportion, to create publicity and sell.
To conclude, I believe the on screen representation of the gangster has been altered to reflect the shifting zeitgeist. Because males are able to demonstrate a sense of emotion, without being stereotyped as a homosexual, has allowed directors to include a sense of emotion in the gangster character. This was so that the audience can use this as a form of identification, as well as being able to include the typical gangster ethos to get rich and powerful, which attracted a larger audience.
Biblography
1 Bernink, Meike. The Cinema Book 2nd Edition. 2 Sub ed. London: British Film Institute, 2000. Print
2 http://www.fathom.com/course/10701053/session3.html
3 http://www.slideshare.net/Jthomas1/the-effect-of-gangster-culture-on-the-gangster-film-genre-presentation
4 Bernink, Meike. The Cinema Book 2nd Edition. 2 Sub ed. London: British Film Institute, 2000. Print
5 http://www.novelguide.com/a/discover/egd_01/egd_01_00212.html
6 http://www.slideshare.net/Jthomas1/the-effect-of-gangster-culture-on-the-gangster-film-genre-presentation
7 http://www.slideshare.net/mjarry/early-gangster-genre
8 http://www.fathom.com/course/10701053/session3.html
9 http://www.slideshare.net/mjarry/early-gangster-genre
10 http://www.imdb.com/title/tt0765429/
11 http://www.alternet.org/media/67362
12 http://en.wikipedia.org/wiki/The_Sopranos
13 http://www.telegraph.co.uk/news/uknews/1505277/Six-per-cent-of-population-are-gay-or-lesbian-according-to-Whitehall-figures.html
14http://www.questia.com/googleScholar.qst;jsessionid=LpjWgJLDKGvWd5h9T44h0FtrQLJ0nxcNT1kWBm4wC5KMSvxsVK2S!1606806381!2038965103?docId=5000424956
15 http://www.genders.org/g35/g35_heartfield.html
Saturday 2 January 2010
Task 1 - Textual Analysis
Textual analysis on “A Very British Gangster”.
When analysing my current primary text, it was difficult to choose a significant and precise extract that will give me enough room to analyse all relevant areas, this is the main reason why my extract is 15 minutes long.
From watching the extract, the props and setting used all help to connote a gangster life or signal the film is a gangster genre. Such props include costumes as all characters shown in the mise en scene, are seen to be wearing black suits. The setting gives the audience an insight as to where the criminal activity is going to take place and helps set the picture.
At the start of the extract we see 4 to 5 males of a white origin, walking through a town centre, all dressed in black surrounding one male, which illustrates to the audience who the gang leader is. Throughout this sequence we see a range of shots being used to place the audience in various different situations for example we see the gangsters through a CCTV’s perspective which could suggest an idea of them being watched by the police. This large variety of shots helps build up suspense and tension as the audience do not know where the characters are going and why.
Part of this scene is filtered in black and white, which helps promote the film is of a gangster genre. This is because traditional gangster films where shot in black and white giving it a classical yet modern finish.
The genre of this film is hybrid, as it contains elements of a documentary, as well as a crime and gangster genre. The gang members shown in the extract, help connote the film is of a gangster genre, due to their appearance. For example, they are seen to be wearing black suits that all traditional gangsters wear. The fact that all characters are bald, demonstrates thuggish values and the age of these gang members illustrates the foolishness and vulnerability of these young males and how easy it is for them to be caught up in violence, as well as criminal activity.
The representation of these gangsters created through the manner they speak in and how open they are about murdering people or robbing security vans, gives an insight to the audience on how raw and ruthless this group of people are. Also the fact that most gang members are below the age of 21 exemplifies the leader does not have any consideration for the youth’s lives. In addition, youths today are the group of people who are seen to be stabbing or shooting others, which is sensationalised through the media and often is mediated to create meanings. Because of this, moral panics are created and often led to stereotyping certain groups in society.
Even though the leader of the gang is shown to be powerful and cold-blooded, the extract shocks the audience when the gangster admits to being homosexual. However, the audience perception may not change as he comes across as a masculine and dangerous man. This breaks the traditional stereotypical view of a homosexual male, however this is only because the character is a well know, respected gangster from Manchester. His masculinity is not challenged, as he carries himself as a heterosexual individual and does not dwell upon his homosexuality.
The text is targeted at both male and female audiences of a white working class. This is evident through the characters shown within the film, who are all predominately white working class individuals. However, it can be argued that Manchester is area that is populated by people with similar demographics and the population of ethnic minorities is miniscule.
The ideologies behind this text are fairly different to most gangster films. For example “A very British Gangster” offers an alternative representation of a homosexual male. The film breaks the stereotypical view on homosexuality, as the gangster is not someone who loves shopping, acts bitchy and is fairly camp. Instead, we have a male with a family and kids, who is one of the most well known gangsters in the area of Manchester, who happens to be gay.
The narrative follows a documentary style, as we are introduced to the character and throughout the film the audience follows his daily routines and listens to stories of his gangster lifestyle. The film does not have a basic storyline or structure; instead the documentary is considered a film because of its length, as it resembles a feature long film.
Socially the text can be used for people to refer to and discuss, as the gangster that the film is about is not a typical thug. Also many people from urban, run down areas can use the text to identify with, as the area may be similar to theirs.
Historically, films like “The Krays” which was a gangster film based upon real gangsters in the 1990s, was one of the first films purely based on real gangsters. We can “A Very British Gangster” rooted from “The Krays” because it focuses on real life characters. Historically, for someone let alone a gangster to admit being gay was rare, however in society today gay marriage and homosexuality is fairly common, therefore people are allowed to be more open, due to new legislation.
Task 2 - Book Research
“ The legal and social status of the criminal produced a figure, the gangster, outside and opposed to society, who ‘violates a system of rules that a group of people live under’ (Shadoian, 1977).
Warner Bros. Studio, which produced many of classic tittles in the 1930s.
Andrew Tudor’s (1974) account of the genre where he compares it unfavourably with the western, characterising the ‘Urban nightmare’ so often attributed to the gangster film as a ‘brutal universe…mechanistic, offering little in the way of social and emotional riches.
Unlike the western there is no code governing the violence, no set of rules for the regulation of this war of all against all: (Tudor)
A feminist perspective might suggest that what is at stake here is the too naked expression of a certain form of male heroics.
Mc-Arthur: the gangster/thriller as iconography
‘the continuity over several decades of patterns of visual imagery, of recurrent objects and figures in dynamic relationship’.
Ryall 1979- stable iconographic elements can be divided into three categories:
- The physical presence, attributes and dress of the actors and actress the characters the play:
- The urban milieux in which the fiction is played out
- The technology at the characters disposal, principally guns and cars
Levis Strauss – Binary opposition, Law vs. Lawless
Cook, Pam and Bernink, Mieke (1999): The Cinema Book, Stephen ST, London: BFI Publishing
“ No one has done more to represent gangsters to us than Martin Scorsese ”
“ Films like Mean Streets, Goodfellas, Casino (1995) and The Departed (2006) have given audiences his interpretation of this band of people; the fact that Robert De Niro has played major in three of these films is something which affects audience response too.
“ Raeburn, for example, has indicted how the gangster genre emerged out of prohibition in America and the consequent, criminal organisation of the illegal production and supply of alcohol in the 1920s. He argues that ‘prohibition and the notoriety of crime barons like Al Capone were the genre’s most obvious precipitants”. (1988:47)
Sanders, John (2009): The Film Genre Book, Leighton: Auteur
Task 3 - Historical Text
No essay can be written that explores how traditional gangster films have adapted and changed to reflect society without mentioning Brain De Palma Scarface (1983). The film demonstrates a raw, remorseless gangster whose primary ambition is to make money and will do anything in order to achieve this. One of the best-known dialogue taken from the film encapsulates the protagonists ambition “ when you get the money, you get the power, when you power you get the women”. This was his main ethos of life.
The film demonstrates the fluidity of drug dealing, primarily cocaine in Miami back in the 1980s. The policing at the time was not the best, which made it a lot easier for the drug activity to take place.
As times changed, the police tightened up and passed further legislation to prevent the black market of drug dealing. Today, the amount of drugs imported into the UK is decreasing due to the new polices and strategies the government has come up with.
The way men are represented in old traditional gangster films illustrates no presence of emotion, as they believe this is a sign of weakness. Also, showing emotion could suggest signs of homosexuality with was against the law and was frowned upon in the past
Today, audiences want to see an emotional gangster whose family side is also shown to illustrate to the audience how a gangster would deal with everyday issues, to add a sense of realism to the film so audiences can identify with certain aspects of the gangsters life.
Also, due to the new legislation people or homosexual people are allowed to be more open and can speak freely about their sexuality, without fear of being mistreated or having actions biased towards them. This new movement and change in character for men is present in my current text “A Very British Gangster”, which explores the life of a gangster from Manchester who openly admits being gay, whilst having a heterosexual relationship and kids.
Task 4 - Web serach
Classical Film Genre
Historical gangster film with Robert Warshow theory
http://www.fathom.com/course/10701053/session3.html
“Warshow's formula for all gangster films typically involves a poor immigrant so desperate for the American dream--money, position, flashy clothes and cars--that he falls prey to a life of crime”.
This quote could be used to describe the emergence of gangster films and the motivation behind the gangster’s aspiration. This formula or theory can be applied to my historical text “Scarface”. However, due to changing circumstances this formula is less present in current gangster films.
Film review on “A Very British Gangster ”
“ Yet Noonan - shaven-headed, overweight and disarmingly cheerful - is not quite typical gangster material. For one thing, he is openly gay and confesses to having been raped as a teenager ”.
This quote can be applied to my essay to describe how “ A Very British Gangster” differs to the typical gangster films. It can used as evidence to suggest that not all gangster are afraid to show emotion and to help describe the Zeitgeist, about being able to gay and open.
http://www.filmcritic.com/misc/emporium.nsf/reviews/A-Very-British-Gangster
“When schools and businesses shut down (out of fear or respect) for a gangster's funeral, it's clear the Noonan’s are people to be reckoned with, for better or for worse”.
Again this quote can used to describe how different my primary text is compared to other gangster films. Even though, the gangster is homosexual people still have a substantial amount of respect for him.
There is no masculinity crisis
http://www.genders.org/g35/g35_heartfield.html
“Instead, men are called upon to act the part of the victim, by mourning their loss of power, and getting in touch with their emotional side”.
This quotation can be present in my essay, to describe why this panic about masculinity of men exists and what signals a man being less masculine.
Crime and Gangster films
http://www.filmsite.org/crimefilms.html
“Gangster films are morality tales: Horatio Alger or 'pursuit of the American Dream' success stories turned upside down in which criminals live in an inverted dream world of success and wealth. Often from poor immigrant families, gangster characters often fall prey to crime in the pursuit of wealth, status, and material possessions (clothes and cars), because all other "normal" avenues to the top are unavailable to them”.
This quote can be used in my critical investigation to explore how traditional gangster films are different and have altered over time to reflect the changing zeitgeist.
"American Gangster" Reinforces American Stereotype
http://www.alternet.org/media/67362
“American Gangster is a big, brash and brilliant cinema tour de force. But it also reinforces a glaring stereotype, in fact, one of America's most enduring stereotypes, and that's that the drug problem and by extension drug kingpins come with a black face”.
By using this quote I can explore the effects of gangster films moving away from the typical on screen gangster, to a more modern character representing a large number of people. This can make room for theories like the moral panic.
GANGSTER FILMS
http://www.novelguide.com/a/discover/egd_01/egd_01_00212.html
“The conventions of the genre usually require a contrast between two men, either related through friendship or kinship, with one of them getting an honest job while the other resorts to crime. The contrast is usually set in an urban environment at night”.
This quote can be used to evaluate the changing conventions of gangster films and how they represent changing nature of society.
“The criminal is always the one gaining status, and this rise on the social ladder makes him, in Schatz's definition, "the perverse alter-ego of the ambitious, profit-minded American male." The expensive clothes, flashy cars, and attractive women visually signal the criminal’s growing status he acquires”.
This quote can be present in my essay to determine why gangsters commit crime and where the gangster arises.
The effect of gangster culture on the gangster genre
“In the 1920s the prohibition act was in place, which made the era a haven for the crime known as bootlegging this industry was ruled by Al Capone, in 1932 Capone was sent to jail shortly after followed the release of Scarface: Shame of a nation, the films main characters was based loosely on Al Capone”.
By using this quote I can explore how real crime in America and crime lords were whom the storylines were based around.
Early gangster genre
http://www.slideshare.net/mjarry/early-gangster-genre
“The typical conventions of 1930s gangster genre are smart suits, acts of violence, murder, weapons and luxury items associated with the lifestyle such as cigars and fine liquor”.
By using the quote I will be able to compare how the conventions and representations of gangsters have changed over time and to what extent they have.
Task 5 - detailed plan
Task 5- detailed plan
Introduction
In this paragraph I will discuss my topic title which is “An investigation into the on-screen gangster. How has traditional representation changed to reflect the shifting nature of masculinity?” Also I will take this time to introduce my primary current text along side my historical one. Furthermore, by giving a brief outline of the major themes and ideologies that will be explored in the essay, will be a good way of introducing my essay.
1st paragraph
The content that will be included in this paragraph will be a good stating point, as the gangster genre history will be explored here. References to Andrew Tudor’s theory, Warshow, Ryall and ‘pursuit of the American dream’ will be included here which links directly to my historical text.
A description of how traditional gangster films where based on real life gangsters such as Al Capone will be explored.
Typical codes and conventions will be illustrated and how these affected other gangster films.
2nd paragraph
In this paragraph I will focus on my historical text, which is “Scarface” and how this text contains elements that theorists have discussed. After this I will discuss the reasons as to why certain aspects like drug dealing was so easy back in the 1970’s, as a result I can link this back to historical as well as political. Also I can talk about the traditional gangster and why he does not show any emotion. This could be linked back to social, as people who showed emotion in the past where considered to be gay, which results in them being excluded from society. The theory of stereotypes can be used in this situation.
3rd paragraph
This paragraph can be used to explore my current text and compare my two texts and draw similarities and differences in codes and conventions. The representation of the new gangster can be explored here and how the theories that describe the traditional gangster cannot be applied here. Reference to other texts can be included here like the sopranos and how they break the stereotypes in gangsters, due to programme showing the gangsters emotional side. Also reference to ‘American Gangster” can be made here, as this also breaks the traditional conventions. However, when a gangster with different demographics is used people feel they are being targeted for producing criminal activity, which can be linked back to stereotyping, as some black people feel as if people are judging them upon stereotypes. The concept can link back to social implications. The theory of ethnicity and hegemony can linked to this.
4th paragraph
The content in this paragraph can describe the reasons as to why gangster films are changing. I can refer to the zeitgeist in this situation, to describe why it is that men can be more emotional in society today. The fact that the new legislation has been passed about gay marriage and homosexuality has allowed many more people to be more open about their emotions. Linking this back to my current text, which demonstrates a homosexual gangster, I can evaluate the reasons as to why people have not lost respect for him and how he is still considered a masculine man.
5th paragraph
The last paragraph flows on very well to this paragraph, as I can draw up the arguments for the masculinity crisis and against. Here I can talk about the theory of moral panic, as people see men are being more open about their emotions and over reacting. The typical representation of the masculine man is broke giving birth to the ‘new man’. This wears off on to new gangster movies, which alter the representation of the gangster.
Conclusion
In this part of my essay I will be able to discuss why the representation of gangsters have changed and how this links back to the crisis of masculinity. I will draw on the main points as to why this representation has been altered, for example new legislation being put into place.
Task 6- Introduction and first paragraph
Task 6
“An investigation into the on-screen gangster. How have traditional representation changed to reflect the shifting nature of masculinity?”
Introduction
This essay will discuss how the traditional representation of the gangster has changed to reflect the shifting nature of masculinity. We can agree that the gangster genre has come along way from Mervyn Leroy’s “Little Caesar” to Martin Scorsese “The Departed”, however such alterations would not have occurred if the drastic changes in society did not place. Such changes include equal rights for all individuals including ethnic minorities and a more recent change for homosexuality. A primary example that exemplifies these changes is “A Very British Gangster” which was produced in 2007 by Donal Macintyre. To outline the change in gangster films, I will compare my current text “A Very British Gangster” to Brian De Palma’s “Scarface”.
The gangster genre has been present for almost a century, due to D.W. Griffith’s “The Musketeers Of Pig Alley” (1912), who was the first to make a mark on the gangster/crime genre. More renowned texts produced by Warner Bros, who were famous in the 1930’s for producing gangster films, are William Wellman’s “The Public Enemy” and Howard Hawks “Scarface”.
The typical ethos behind any gangster’s actions is the ambition to get rich, after migrating from a poor country. A theorist who introduced this theory was Robert Warshow who stated “ all gangster films typically involves a poor immigrant so desperate for the American dream--money, position, flashy clothes and cars--that he falls prey to a life of crime”.1
In addition, migrants who are the gangsters, carry out criminal activity in order to achieve “The American Dream” which was a theory of Horatio Alger. He stated that often migrants commit crime in pursuit of wealth, status, and material possessions2, as many individuals around them have many of these things.
Traditional gangster films were loosely based on real life characters for example Howard Hawks “Scarface” which had similar references to the life of Al Capone, a mass criminal of the 1920’s. Such films allowed the nation to identify with characters however at the expense of bringing shame to he nation3.
Scarface, alongside other gangster films in the 1930’s gave rise to typical codes and conventions used in similar films. These conventions include smart suits, violent activity, murder, weapons and luxury items associated with the lifestyle such as cigars and liquor 4.
1 Historical gangster film with Robert Warshow theory
2 Crime and Gangster films
http://www.filmsite.org/crimefilms.html
3 The effect of gangster culture on the gangster genre
4 Early gangster genre
http://www.slideshare.net/mjarry/early-gangster-genre
Subscribe to:
Posts (Atom)