“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
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