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:

  1. The physical presence, attributes and dress of the actors and actress the characters the play:
  2. The urban milieux in which the fiction is played out
  3. 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 ”

http://www.telegraph.co.uk/culture/film/filmreviews/3669745/Film-reviews-A-Very-British-Gangster-KM-13-Code-Name-The-Cleaner-and-more.html 

“ 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 

http://www.slideshare.net/Jthomas1/the-effect-of-gangster-culture-on-the-gangster-film-genre-presentation

“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

http://www.fathom.com/course/10701053/session3.html