Gangster Genre Analysis | Newman Film Criticism

The films have been seen by many commentators as a critique of American capitalism. Man for example, argues that while the gangster genre has generally displayed a ‘…prosocial ideology supportive of the status quo’ (if grudgingly), the Godfather films challenge this dominant ideology, (if grudgingly as well). ‘On the whole, the trilogy indicts American capitalism for the rampant materialism within society and subverts the dominant prosocial myth’ (our emphases). But the films’ pre-eminent and enduring themes and images offer powerful emblems of stability, order, tradition and hierarchy.

PPT – The Gangster Genre PowerPoint presentation | free to download - id: 56a57b-NmYzN

Illustrated filmography of the gangster genre that provides a brief synopsis and credits for cast and crew for fifty films made between 1930 and 1983.

Evolution of the Gangster Genre - Essays - 1053 Words

(2007) Martin Scorsese and the development of the American gangster genre. BA dissertation, University of Portsmouth. Whitehall’s three-part article examines the Hollywood production of the gangster genre from the early sound period through the post-Code G-Men movies of the late 1930s and the biopics of the 1950s and 1960s. “Part Two: G-Men and Gangsters,” published in February 1964; “Part Three: Public Enemies,” published in March 1964.

This video is a documentary on the gangster genre

Warshow’s account is the most often cited discussion of the gangster genre, not only because it is one of the earliest, but also because his view of the gangster as a mythic hero and his identification of the rise-and-fall narrative have proved highly influential on other scholars. Reprinted in 2001 (Cambridge, MA: Harvard University Press).

The Gangster Genre - College Term Papers

Gangster Genre – What’s the best definition for the gangster fiction genre? The gangster genre is a sub-genre of the crime genre and revolves around stories that focus on gangs and other organized criminals with support and resources that are complex – resources far beyond what a single criminal could ever achieve on their own.Even before enforcement of the Production Code began in mid-1934, the gangster genre started to lose its hold on the audience. The constant criticism of reformers, the national shock over the kidnapping and subsequent death of the Lindbergh baby in 1932 which was initially blamed on underworld types, the end of Prohibition and the over-production of gangster pictures all contributed to the genre's decline. Clearly, however, the coup de grâce was delivered when Joseph Breen took charge of the Production Code Administration. Breen let it be known that sympathetic gangsters would no longer be tolerated. Realizing that spectators would be unlikely to patronize films featuring thoroughly repellent protagonists, the studio heads turned away from the genre.