Gangster, Detective, Crime, and Mystery Films:
A Bibliography of Materials in the UC Berkeley Library
Books
Journal Articles
Articles/Books about Serial Killers in the Movies
Articles and Books on Individual films
- The Big Heat
The Big Sleep
Double Indemnity
In a Lonely PlaceKiss Me Deadly
L.A. Confidential
Pulp Fiction
Scarlet Street
Books
- Abbott, Megan E.
- The street was mine : white masculinity in hardboiled fiction and film noir
New York : Palgrave Macmillan, 2002. MAIN: PS374.D4 A23 2002
- Baxter, John
- The gangster film. London, A. Zwemmer; New York, A. S. Barnes [1970] Screen series Main Stack PN1995.9.G3.B3 1970
- British crime cinema
- Edited by Steve Chibnall and Robert Murphy. London; New York: Routledge, 1999. British popular cinema. Main Stack PN1995.9.G3.B72 1999
- Brode, Douglas
- Money, women, and guns: crime movies from Bonnie and Clyde to the present / by Douglas Brode. Secaucus, N.J.: Carol Pub. Group, c1995. Main Stack PN1995.9.G3.B76 1995
- Chadder, Viv.
- "The Higher Heel: Women and the Post-War British Crime Film."
In: The British cinema book / edited by Robert Murphy. 2nd ed. pp: 66-80 London : British Film Institute, 2001. Main Stack PN1993.5.G7.B66 2001
- Chibnall, Steve.
- Get Carter London ; New York : I.B. Tauris, c2003. MAIN: PN1997 .G444 2003
- Chibnall, Steve.
- "Travels in Ladland: The British Gangster Film Cycle 1998-2001." In: The British cinema book / edited by Robert Murphy. 2nd ed. pp: 281-91. London : British Film Institute, 2001. Main Stack PN1993.5.G7.B66 2001
- Clarens, Carlos.
- Crime movies: from Griffith to the Godfather--and beyond / Carlos Clarens 1st ed New York: Norton, c1980 Main Stack PN1995.9.G3.C5 1980 Moffitt PN1995.9.G3.C5 1980
- Cocchiarelli, Joseph J.
- Screen sleuths: a filmography / Joseph J. Cocchiarelli. New York: Garland Pub., 1992. Series title: Garland filmographies; 3. Series title: Garland reference library of the humanities; vol. 1322. UCB Moffitt PN1995.9.D4 C63 1992
- Crime fiction and film in the Southwest: bad boys and bad girls in the badlands
- Edited by Steve Glassman and Maurice J. O'Sullivan Bowling Green, OH: Bowling Green State University Popular Press, c2001.
- Crime fiction and film in the Sunshine State: Florida noir
- Edited by Steve Glassman and Maurice J. O'Sullivan. Bowling Green: Bowling Green State University Popular Press, c1997. UCB Main PS374.D4 C74 1997
- Derry, Charles
- The suspense thriller: films in the shadow of Alfred Hitchcock / Charles Derry. Jefferson, N.C.: McFarland, c1988. UCB Main PN1995.9.D4 D47 1988 UCB Moffitt PN1995.9.D4 D47 1988
- The detective in American fiction, film, and television
- Edited by Jerome H. Delamater and Ruth Prigozy. Westport, Conn.: Greenwood Press, 1998. Series title: Contributions to the study of popular culture no. 63. UCB Main PS374.D4 D48 1998
- The Devil himself : villainy in detective fiction and film
- Edited by Stacy Gillis and Philippa Gates. Westport, Conn. : Greenwood Press, 2002.
MAIN: PR830.D4 D45 2002
- Dresner, Lisa M.
- The female investigator in literature, film, and popular culture
Jefferson, N.C. : McFarland & Co., c2007.
MAIN: PR830.D4 D74 2007
Table of contents only http://www.loc.gov/catdir/toc/ecip0619/2006026596.html
- Durgnat, Raymond.
- "Some Lines of Inquiry into Post-War British Crimes."
In: The British cinema book / edited by Robert Murphy. 2nd ed. pp: 135-45 London : British Film Institute, 2001. Main Stack PN1993.5.G7.B66 2001
- Everson, William K.
- The bad guys; a pictorial history of the movie villain, by William K. Everson. [1st ed.] New York, Citadel Press [1964] Main Stack PN1995.9.G3.E9 Bancroft F867.M6.E9
- Everson, William K.
- The detective in film [by] William K. Everson. [1st ed.]. Secaucus,N.J., Citadel Press [c1972]. UCB Main PN1995.9.D4 E91
- Gemunden, Gerd
- "The gangster film and melodrama of Rainer Werner Fassbinder." In: Framed visions : popular culture, Americanization, and the contemporary German and Austrian imagination. Ann Arbor : University of Michigan Press, c1998.
Main Stack NX550.A1.G385 1998
- Guerrero, Ed.
- "Black Violence as Cinema: From Cheap Thrills to Historical Agonies." In: Violence and American cinema / edited by J. David Slocum. pp: 212-25. New York : Routledge, 2001. AFI film readers. Main Stack PN1995.9.V5.V56 2001
- Haas, Robert.
- "Disney Does Dutch: Billy Bathgate and the Disneyfication of the Gangster Genre." In: From mouse to mermaid : the politics of film, gender, and culture / Elizabeth Bell, Lynda Haas, Laura Sells, editors. pp: 72-85. Bloomington: Indiana University Press, c1995. Electronic location: http://www.netlibrary.com/summary.asp?id=614
Anthropology PN1999.W27.F76 1995
Main Stack PN1999.W27.F76 1995
- Haydock, Ron.
- Deerstalker!: Holmes and Watson on screen / by Ron Haydock. Metuchen,N.J.: Scarecrow Press, 1978. NRLF B 3 567 964
- Karpf, Stephen Louis.
- The gangster film: emergence, variation, and decay of a genre, 1930-1940. New York, Arno Press, 1973 [c1970] Arno Press cinema program. Dissertations on film series Main Stack PN1995.9.G3.K35 Moffitt PN1995.9.G3.K35
- King, Neal
- Heroes in hard times: cop action movies in the U.S. / Neal King. Philadelphia: Temple University Press, 1999. Main Stack PN1995.9.P57.K56 1999
- Kitwana, Bakari.
- "Young, don't give a fuck, and Black : Black gangster films." In: The hip hop generation : young Blacks and the crisis in African American culture. 1st ed. New York : Basic Civitas, c2002.
Main Stack E185.86.K58 2002
- Lambert, Gavin.
- The dangerous edge / Gavin Lambert. London: Barrie & Jenkins, 1975. UCB Main PN3448.D4L331 1975
- Langman, Larry.
- A guide to American crime films of the thirties / Larry Langman and Daniel Finn. Westport, Conn.: Greenwood Press, 1995. Bibliographies and indexes in the performing arts; no. 18 Main Stack PN1995.9.G3.L36 1995
- Langman, Larry.
- A guide to American crime films of the forties and fifties / Larry Langman and Daniel Finn. Westport, Conn.: Greenwood Press, 1995. Bibliographies and indexes in the performing arts; no. 19 Main Stack PN1995.9.D4.L35 1995
- Langman, Larry.
- A guide to American silent crime films / Larry Langman and Daniel Finn. Westport, Conn.: Greenwood Press, 1994. Bibliographies and indexes in the performing arts; no. 15 Main Stack PN1995.9.D4.L36 1994
- Lee, Raymond.
- Gangsters and hoodlums; the Moffittrworld in the cinema, by Raymond Lee and B. C. Van Hecke. With a foreword by Edward G. Robinson. South Brunswick [N.J.]: A. S. Barnes, c1971. Main Stack PN1995.9.G3.L41 1971
- Leitch, Thomas M.
- Crime films Cambridge ; New York : Cambridge University Press, 2002. UCB Main PN1995.9.D4 L45 2002 Electronic Location(s): Publisher description http://www.loc.gov/catdir/description/cam022/2001052965.html Table of contents: http://www.loc.gov/catdir/toc/cam025/2001052965.html
- Luhr, William.
- Raymond Chandler and film / William Luhr. 2nd ed. Tallahassee: FloridaState University Press; Gainesville, FL: University Presses of Florida[distributor], c1991. UCB Main PS3505.H3224 Z69 1991 UCB Main PS3505.Ch3224 .Z69.1982 (earlier edition) UCB Moffitt PS3505.H3224 z69 1982(earlier edition)
- Lyden, John.
- "Genre and film analyses: Gangster films." In: Film as religion : myths, morals, and rituals / John C. Lyden. New York : New York University Press, c2003. Main Stack PN1995.5.L89 2003
- Maltby, Richard.
- "The Spectacle of Criminality." In: Violence and American cinema / edited by J. David Slocum. pp: 115-52. New York : Routledge, 2001. AFI film readers. Main Stack PN1995.9.V5.V56 2001
- Mason, Fran
- American gangster cinema : from Little Caesar to Pulp fiction New York : Palgrave Macmillan, 2002. MAIN: PN1995.9.G3 M37 2002
- McCarty, John
- Bullets over Hollywood : the American gangster picture from the silents to The Sopranos Cambridge, MA : Da Capo Press, 2004. MAIN: PN1995.9.G3 M34 2004 Moffitt: PN1995.9.G3 M34 2004
PFA : PN1995.9.G3 M47 2004
- McCarty, John
- Hollywood gangland: the movies' love affair with the mob / John McCarty. 1st ed. New York: St. Martin's Press, 1993. Main Stack PN1995.9.G3.M33 1993 Moffitt PN1995.9.G3.M33 1993
- McDonald, Keiko Iwai.
- "The Yakuza Film: An Introduction." In:
Reframing Japanese cinema : authorship, genre, history / edited by Arthur Nolletti, Jr. and David Desser. pp: 165-92. Bloomington : Indiana University Press, c1992. Main Stack PN1993.5.J3.R44 1992 Moffitt PN1993.5.J3.R44 1992
- Mitchell, Edward
- "Apes and essences : some sources of significance in the American gangster film." In: Film genre reader II / edited by Barry Keith Grant. 1st ed. Austin : University of Texas Press, 1995.
Main Stack PN1995.F45792 1995
- Mob culture: hidden histories of the American gangster film
- Edited by Lee Grieveson, Esther Sonnet, and Peter Stanfield. New Brunswick, N.J. : Rutgers University Press, c2005.
Main Stack PN1995.9.G3.M63 2005
- Contents: Gangsters and governance in the silent era / Lee Grieveson -- Why boys go wrong : gangsters, hoodlums, and the natural history of delinquent careers / Richard Maltby -- Gang busters : the Kefauver Crime Committee and the syndicate films of the 1950s / Ronald W. Wilson -- Ladies love brutes : reclaiming female pleasures in the lost history of Hollywood gangster cycles, 1929-1931 / Esther Sonnet -- A gunsel is being beaten : gangster masculinity and the homoerotics of the crime film, 1941-1942 / Gaylyn Studlar -- Mother Barker : film star and Public Enemy No. 1 / Mary Elizabeth Strunk -- "Good evening gentlemen; can I check your hats please?" : masculinity, dress, and the retro gangster cycles of the 1990s / Esther Sonnet and Peter Stanfield -- Waddaya lookin' at? : rereading the gangster film through The Sopranos / Martha P. Nochimson -- Black hands and white hearts : Southern Italian immigrants, crime, and race in early American cinema / Giorgio Bertellini -- "American as chop suey" : invocations of gangsters in Chinatown, 1920-1936 / Peter Stanfield -- The underworld films of Oscar Micheaux and Ralph Cooper : toward a genealogy of the Black screen gangster / Jonathan Munby -- Walking the streets : Black gangsters and the "abandoned city" in the 1970s blaxploitation cycle / Peter Stanfield.
- Munby, Jonathan.
- Public enemies, public heroes: screening the gangster from Little Caesar to Touch of Evil / Jonathan Munby. Chicago: University of Chicago Press, 1999. Main Stack PN1995.9.G3.M86 1999 Moffitt PN1995.9.G3 M86 1999
- Neale, Steve
- "Westerns and gangster films since the 1970s." In: Genre and contemporary Hollywood / edited by Steve Neale. London : BFI Publishing, 2002. Main Stack PN1993.5.U6.G46 2002
- Orsitto, Fulvio S.
- "Shame of the Nation: The Path of Gangsters and Noir Heroes on the Horizon of the American Nightmare." In: Image of the outsider in literature, media, and society. Pueblo, CO : Society for the Interdisciplinary Study of Social Imagery, 2002. Main Stacks ON ORDER
- Parish, James Robert.
- The great cop pictures / by James Robert Parish. Metuchen, N.J.: Scarecrow Press, 1990. Main Stack PN1995.9.P57.P37 1990 Moffitt PN1995.9.P57.P37 1990
- Pendo, Stephen
- Raymond Chandler on screen: his novels into film / by Stephen Pendo. Metuchen, N.J.: Scarecrow Press, 1976. NRLF B 3 160 145
- Pitts, Michael R. Pitts, Michael R.
- Famous movie detectives / Michael R. Pitts. Metuchen, N.J.: ScarecrowPress, 1979. UCB Moffitt PN1995.9.D4 .P5
- Pitts, Michael R.
- Famous movie detectives II / Michael R. Pitts. Metuchen, N.J.:Scarecrow Press, 1991. UCB Moffitt PN1995.9.D4 P53 1991
- Rafter, Nicole Hahn
- Shots in the mirror: crime films and society / Nicole Rafter. Oxford; New York: Oxford University Press, 2000. UCB Main PN1995.9.G3 R34 2000 UCB Moffitt PN1995.9.G3 R34 2000
- Reid, Mark A.
- "The Black Gangster." In: Film genre reader II / edited by Barry Keith Grant. pp: 456-73.1st ed. Austin : University of Texas Press, 1995. Main Stack PN1995.F45792 1995
- Rosow, Eugene.
- Born to lose: the gangster film in America / Eugene Rosow New York: Oxford University Press, 1978 Main Stack PN1995.9.G3.R6
- Rubin, Martin
- Thrillers / Martin Rubin. Cambridge, UK; New York, NY, USA: Cambridge University Press, 1999. Genres in American cinema Main Stack PN1995.9.S87.R83 1999
- Rubin, Rachel.
- "Gangster Generation: Crime, Jews and the Problem of Assimilation." Shofar: An Interdisciplinary Journal of Jewish Studies. 20 (4): 1-17. 2002 Summer.
- Santos, Marlisa
- "Leave the Gun, Take the Cannoli: Food and Family in the Modern American Mafia Film." In: Reel food : essays on food and film / edited by Anne L. Bower. New York : Routledge, 2004. Table of contents http://www.loc.gov/catdir/toc/ecip0413/2004001358.html Main Stack PN1995.9.F65.R44 2004
- Sarris, Andrew.
- "Gangster Films." In: "You ain't heard nothin' yet" : the American talking film, history & memory, 1927-1949 / Andrew Sarris. New York : Oxford University Press, 1998. Main Stack PN1995.7.S27 1998 Moffitt PN1995.7.S27 1998
- Schilling, Mark.
- The yakuza movie book : a guide to Japanese gangster films
Berkeley, Calif. : Stone Bridge Press, c2003. MAIN: PN1995.9.G3 S33 2003 PFA : PN1993.5.J3 S32 2003
- Shadoian, Jack.
- Dreams & dead ends : the American gangster film / Jack Shadoian. 2nd ed. Oxford ; New York : Oxford University Press, 2003. Main Stack PN1995.9.G3.S5 2003 Moffitt PN1995.9.G3.S5 2003
- Shadoian, Jack.
- Dreams and dead ends: the American gangster/crime film / Jack Shadoian. Cambridge, Mass.: MIT Press, c1977. Main Stack PN1995.9.G3.S51 Moffitt PN1995.9.G3.S51
- Shadoian, Jack.
- Dreams and dead ends: the American gangster/crime film / Jack Shadoian. Oxford ; New York : Oxford University Press, 2003. MAIN: PN1995.9.G3 S5 2003 Moffitt: PN1995.9.G3 S5 2003 Main Stack PN1995.9.G3.S51 [earlier edition] Moffitt PN1995.9.G3.S51 [earlier edition]
- Skene Melvin, David
- Crime, detective, espionage, mystery, and thriller fiction and film: acomprehensive bibliography of critical writing through 1979 / compiled byDavid Skene Melvin and Ann Skene Melvin. Westport, Conn.: GreenwoodPress, c1980. UCB Main PN3448.D4A12 .S55 UCB Moffitt PN3448.D4A12 .S55
- Smith, Jim
- Gangster films
London : Virgin Books, 2004. MAIN: PN1995.9.G3 S65 2004 Moffitt: PN1995.9.G3 S65 2004
- Soister, John T.
- Of Gods and monsters: a critical guide to Universal Studios' sciencefiction, horror, and mystery films, 1929-1939 / by John T. Soister. Jefferson, N.C.: McFarland, c1999. UCB Main PN1999.U57 S65 1999
- Steinbrunner, Chris.
- The films of Sherlock Holmes / by Chris Steinbrunner and Norman Michaels. 1st ed. Secaucus, N.J.: Citadel Press, 1978. UCB Main PN1995.9.S5 S7 1978
- Stephens, Michael L.
- Gangster films: a comprehensive, illustrated reference to people, films, and terms / by Michael L. Stephens. Jefferson, N.C.: McFarland, c1996. Main Stack PN1995.9.G3.S84 1996
- Sumser, John
- Morality and social order in television crime drama / by John Sumser. Jefferson, N.C. : McFarland, c1996. Main Stack PN1992.8.D48.S86 1996
- Tuska, Jon.
- The detective in Hollywood / by Jon Tuska. 1st ed. Garden City, N.Y.:Doubleday, 1978. UCB Main PN1995.9.D4 .T8 UCB Moffitt PN1995.5.D4 T8
- Tuska, Jon.
- In manors and alleys: a casebook on the American detective film / JonTuska. New York: Greenwood Press, 1988. Series title: Contributions to the study of popular culture no. 17. UCB Main PN1995.9.D4 T7951 1988 UCB Moffitt PN1995.9.D4 T795 1988
- White, Jonathan David
- "Bisexuals Who Kill: Hollywood's Bisexual Crimewave, 1985-1998." In: Bisexual men in culture and society / Brett Beemyn, Erich Steinman, editors. New York : London : Harrington Park, c2002.
Main Stack HQ74.2.U5.B52 2002
- Wilt, David E.
- "Hollywood's Detective." In: The Columbia companion to American history on film : how the movies have portrayed the American past / edited by Peter C. Rollins. New York : Columbia University Press, c2003.
Media Center PN1995.9.U64.C65 2003
Doe Refe PN1995.9.U64.C65 2003
Moffitt PN1995.9.U64.C65 2003
PFA PN1995.9.U64.C65 2003
- Wires, Richard.
- John P. Marquand and Mr. Moto: spy adventures and detective films /Richard Wires. Muncie, Ind.: Ball State University, c1990. UCB Main PS3525.A6695 Z77 1990
- Yaquinto, Marilyn.
- Pump 'em full of lead: a look at gangsters on film / Marilyn Yaquinto. New York: Twayne; London: Prentice Hall International, c1998. Twayne's filmmakers series. Main Stack PN1995.9.G3.Y37 1998 Moffitt PN1995.9.G3.Y37 1998
- Zalcock, Beverley
- Renegade sisters
London: Creation, 2001.
MAIN: PN1995.9.W6 Z35 2001
Journal Articles
- Allen, Jessica; Livingstone, Sonia; Reiner, Robert.
- "The changing generic location of crime in film: a content analysis offilm synopses, 1945-1991." Journal of Communication v47, n4 (Autumn, 1997):89 (13 pages).
- Public concern over the link between portrayals of crime on film and thecrime rate has persisted since the earliest days of cinema. Whether or notthe number of films containing crime is increasing and, if so, for whichkinds of films they are increasing is investigated in a content analysis ofa sample of synopses or all films released in the UK between 1945 and 1991.The results of the analysis are discussed.
- Anker, Roy.
- "Badfellas: the rash of mob movies cannot but prod viewers to contemplatethe specter of evil and its proximity to their own dark places." Christianity Today v34, n3 (March 11, 1991):45 (3 pages).
- Arthur, Paul.
- "Los Angeles as scene of the crime." Film Comment v32, n4 (July-August, 1996):20 (7 pages).
- Los Angeles constitutes the very locus, spiritual font, and often the actual site of some of America's most cherished crime-movie fantasies. This is despite the fact that it is a city devoid of the topographical symbols and embedding of the past usually associated with detective narratives, especially film noir detective narratives. The writer examines what detective movies, from the postwar period to present day, have done with the ecology of L.A. and what L.A. has done with and to detective movies.
- Los Angeles constitutes the very locus, spiritual font, and often the actual site of some of America's most cherished crime-movie fantasies. This is despite the fact that it is a city devoid of the topographical symbols and embedding of the past usually associated with detective narratives, especially film noir detective narratives. The writer examines what detective movies, from the postwar period to present day, have done with the ecology of L.A. and what L.A. has done with and to detective movies.
- Broe, Dennis.
- "Class, crime, and film noir: labor, the fugitive outsider, and the anti-authoritarian tradition." Social Justice 30.1 (Spring 2003): 22(20).
UC users only
- Brooks, Jodi.
- "'Worrying the Note': Mapping Time in the Gangsta Film." Screen. 42(4):363-81. 2001 Winter
- Brown, Jeffrey A.
- "Bullets, buddies, and bad guys: the "action-cop" genre." Journal of Popular Film and Television v21, n2 (Summer, 1993):79 (9pages).
- The popular appeal of action-cop movies stems from the recurringhero-villain formula popularized in Hollywood. Such formulas depend onaudience preference and represent ideological conflicts in Americanculture. The action-cop formula is successful because it shows how culturaltensions can be mediated. The evolution of this genre revolves aroundvariations of such hero-villain themes.
- Bruzzi, Stella.
- "Style and the hood: gangsters, American and French style."
Sight & Sound ns5 (Nov. '95) p. 26-7.
- tract: The myth of the gangster was largely built up and embellished in American and French films. Traditionally, French films have tended to fix on a sometimes tortuous realism to rub against the allure of crime, while American films have been preoccupied with the cinematic representation of real crimes. The specificity of this genre resides neither in realism nor actuality, however, but in the establishment of a distinctive iconographic shorthand that reflects a broader stylistic difference between the two traditions. The classic American films are characterized by frenetic action and fast talking. The classic French movies are quiet and exaggeratedly slow. Despite all generic similarities, the French and American films have always diverged on the level of tone. Though the gangster film may come more naturally to Americans, the French do it with more style. Among the films discussed are Raoul Walsh's The Roaring Twenties, Jean-Luc Godard's A bout de souffle, and Martin Scorsese's Goodfellas.
- Cawelti, John G.
- "The Gunfighter and the Hard-boiled Dick: Some Ruminations on the American Fantasies of Heroism."American Studies 1975 16(2): 49-64.
- "Examines some of the myths and realities reflected by American media heroes. Western sheriffs, for example, were rarely men of law. The ambiguous characterizations of American heroes reflect traditional notions of individualism throughout the United States. Mel Brooks' film, "Blazing Saddles," effectively exposes the absurdities inherent in these beliefs. Many similarities and contrasts exist between the western and the detective story. Examines the expression of the American dream in each." [from ABC-CLIO America: History and Life]
- Cieutat, Michel
- "La rue du film noir ou le mirage américain." CinémAction;
nr.75 (Apr 1995); p.146-152
- Contrary to earlier gangster films, the US film noir of the 1940's and 1950's dwells on urbaninteriors, with few scenes on the street.
- Cooper, Stephen.
- "knowledge/power in the detective genre." Film Quarterly v. 42 (Spring '89) p. 23-31.
- Dargis, Manohla.
- "Dark side of the dream." (gangsters in American movies) Sight and Sound v6, n8 (August, 1996):16 (4 pages).
- The success of Francis Ford Coppola's film 'The Godfather' reveals thatgangsters have become an important part of American cinema. The Americangangster movies centres on the family's struggle to survive the hardships of modern American life, signifying the extant political movement. Thegangster films, a product of Prohibition and Depression, survived thecensor and the indifference of its audience and resurrected with 'TheGodfather.' History of gangster movies, produced by Warner Brothers,Paramount and Monarch studios, are discussed.
- Dargis, Manohla
- "Gangsters." Sight & Sound;
Vol.VI nr.8 (Aug 1996); p.15-19
- An analysis of the gangster movie as a central feature of US cinema.
- DeFino, Dean.
- "Killing Owen Taylor: Cinema, Detective Stories, and the Past." Journal of Narrative Technique. 30(3):313-31. 2000
- De Stefano, George.
- "Italian-Americans: family lies: Italians as mobsters in American films."
Film Comment v. 23 (July/Aug. '87) p. 22-4+.
- Includes: Detective and crime films: p. 22-4+; Italians in the United States: p. 22-4+; Discrimination: p. 22-4+. Includes: De Palma, Brian: p. 22; Scorsese, Martin: p. 26.
- Don Diego, Catherine.
- "Hits, Whacks, and Smokes: The Celluloid Gangster as Horror Icon." Post Script: Essays in
Film & the Humanities. 21(3):87-98. 2002 Summer UC users only
- Douglass, Wayne J.
- "The Criminal Psychopath as Hollywood Hero." Journal of Popular Film and Television 1981 8(4): 30-39.
- "The appearance of criminal psychopaths as hero-figures in films during 1947-76 is an expression of a prevalent antipathy in American culture toward modern bureaucratic society; three writings deal with this phenomenon: Robert Warshow, "The Gangster as Tragic Hero," in The Immediate Experience (1971), Norman Mailer, Advertisements for Myself (1959), and Alan Harrington, Psychopaths (1972)." [from ABC-CLIO America: History and Life]
- Esposito, Dawn.
- "Gloria, Maerose, Irene, and Me: Mafia Women and Abject Spectatorship." MELUS: The Journal of the Society for the Study of the Multi-Ethnic Literature of the United States. 28 (3): 91-109. 2003 Fall.UC users only
- Fields, Ingrid Walker
- "Family values and feudal codes: the social politics of America's twenty-first century gangster." Journal of Popular Culture May 2004 v37 i4 p611(23) (9593 words)
UC users only
- "Despite the steady deterioration of gangster and gangsta life on the street, gangsters' imaginary lives thrive in film, television, fiction, music, and video games. The gangster codes have been so consistently mythologized in late 20th century popular culture that they have become archetypal. The author discusses Mario Puzo's novel "The Godfather" as the seminal gangster narrative that has influenced its followers. The HBO series "The Sopranos" and Jim Jarmusch's film "Ghost Dog: The Way of the Samurai" present significant permutations of gangster mythology. The author discusses the gangster code, particularly as portrayed in the two works." [International Index to the Performing Arts]
- Fuller, Graham.
- "Right villains: a short history of British crime movies." Film Comment v26, n5 (Sept-Oct, 1990):47 (4 pages).
- Golden, Daniel.
- "The Age Demanded an Image: The Gangster as American." Canadian Review of American Studies 1979 10(1): 71-75.
- According to Jack Shadoian in Dreams and Dead Ends: The American Gangster/Crime Film (Cambridge: MIT Pr., 1977), gangster and other crime films mirror US "culture's psyche." These films exploded self-made man myths long before most Americans questioned such notions. [from ABC-CLIO America: History and Life]
- Grossman, Andrew.
- "Homosexual Men (and Lesbian Men) in a Heterosexual Genre: Three Gangster Films from Hong Kong." Journal of Homosexuality. 39(3-4):237-71. 2000.
- "Hardboiled Hollywood."Film Comment v. 20 (Sept./Oct. 1984) p. 29-39+
- A special section discusses the history of the hard-boiled detective in fiction and film.
- Hennelly, Mark M., Jr.
- "American Nightmare: The Moffittrworld in Film." Journal of Popular Film 1978 6(3): 240-261.
- Discusses the meaning of gangster films in American society, outlining the Moffittrworld morality, the duality which illegal life and `decent' life represent, and the significance of violence.
- Discusses the meaning of gangster films in American society, outlining the Moffittrworld morality, the duality which illegal life and `decent' life represent, and the significance of violence.
- Henry, Clayton R., Jr
- "Crime Films And Social Criticism: They Emphasize One of Society's Gravest Defects." Films in Review 2:5 (1951:May) 31
- Hickey, Neil and Sorel, Edward.
- "The Warner Mob."American Heritage 1983 35(1): 32-39.
- "Gangster films helped revive Jack Warner's movie organization in the 1930's. Moffittr Darryl Zanuck's influence, the company produced such movies as Little Caesar, Doorway to Hell, and The Maltese Falcon, which made popular heroes of tough guys like Edward G. Robinson, James Cagney, George Raft, and Humphrey Bogart." [from ABC-CLIO America: History and Life]
- Hoberman, J.
- "Believe it or not: J. Hoberman on gangster flicks." Artforum International v. 29 (Jan. 1991) p. 19-20
- Leigh, Danny
- "Get smarter." Sight & Sound;Vol.X nr.6 (June 2000); p.22-25
- On the rise of the new Brit gangster film. Suggests that several of the recent releases in this genre bearno relation to modern crime but instead hark back nostagically to a long-gone 1970s gangsterland.
- Lynch, Karen.
- "Orientation via Orientalism: Chinatown in Detective Narratives." Popular Culture Review. 11(1):13-29. 2000 Feb.
- Lyons, Donald.
- "Flaws in the iris: the private eye in the Seventies." (film detectives) Film Comment v29, n4 (July-August, 1993):44 (8 pages).
- The role of the private eye greatly expanded in the 1970s. Detective filmexamined include 'The Long Goodbye' and ''Chinatown.' These movies are moreviolent than past films noirs, and the detective is more likely to commitacts of violence.
- MacQueen, Scott.
- "Alibi: gangsters take on talkies." American Cinematographer v. 72 (Apr. '91) p. 34-40.
- Maxfield, James.
- "The Moral Ambiguity of Kurosawa's Early Thrillers."Film Criticism. 18(1):20-35. 1993 Fall
- McFarlane, Brian.
- "Pulp fictions: the British B film and the field of cultural production." Film Criticism v21, n1 (Fall, 1996):48 (22 pages).
- British B films, also known as second features, were made to fillparticular economic and industry needs. B movies were cheaply and quicklymade. These films were distributed from 1946-1963 and share severalthematic characteristics. Most of them revolve around a main crime withanother crime to maintain audience interest, committed by individuals organgs and usually not solved by deductive reasoning; the heroes are usuallyrescued by police; and some aspect of romance often accompanies the mainstory.
- Mitchell, E..
- "Apes and essences: some sources of significance in the American gangster film."Wide Angle Vol I nr 1 (1979); p 18-23.
- A discussion of the gangster film. (Rev. reprint) Mitchell, E..
- Munby, Jonathan.
- "Manhattan Melodrama's 'Art of the Weak': Telling History from the Other Side in the 1930s Talking Gangster Film." Journal of American Studies. 30(1):101-18. 1996
- Peary, Gerald
- "Vers une définition du 'film de gangster'." Positif;
nr.171-172 (July-Aug 1975); p.3-6
- A definition of the gangster film.
- Mitchell, E.
- "Apes And Essences - Some Sources Of Significance In The American Gangster Film." Wide Angle 1: (1) 22-& 1976
- Perez, Gilberto.
- "Film in review." (on gangster films) Yale Review v84, n3 (July, 1996):186 (10 pages).
- Gangster films portray criminals either as comics, as fulfilledindividuals, or as tragic heroes. Either way, the genre reinvents the myththat the gangsters represent 'success as crime' in the US. Examples of suchfilms include 'Casino,' 'Scarface,' 'The Godfather' and 'Goodfellas.'.
- Rimoldi, Oscar.
- "The detective movies of the 30s & 40s." Films in Review v44, n5-6 (May-June, 1993):164 (10 pages).
- Mystery stories are ideal subjects for films in terms of language,situation and visual images. Hollywood studios produced several such films,but most of these detective films were assigned a B grade and allocatedsmall budgets and tight shooting schedules. These films were well directed,gripping and entertaining. The audiences loved the romanticized images ofdetectives, who were usually mercenaries or high class robbers. The end ofthe Second World War brought a change in the image of the screen sleuth,who was portrayed as a suave and refined paragon of virtue.
- Rimoldi, Oscar.
- "The detective movies of the 30s & 40s." (part 2) Films in Review v44, n7-8 (July-August, 1993):225 (10 pages).
- Fictitious detectives of the 1930s and 40s became screen heroes as theywere portrayed in movies. The most famous was Sherlock Holmes, created by Arthur Conan Doyle in 1887. The Lone Wolf, Sam Spade and Nancy Drew arethree other detective characters for audiences of varying age-groups. MrMoto, The Saint , Ellery Queen, Michael Shayne, Duncan Maclain and BostonBlackie were other famous fictitious detectives.
- Rimoldi, Oscar.
- "The detective movies of the 30s & 40s: part 3." Films in Review v44, n9-10 (Sept-Oct, 1993):308 (6 pages).
- Detective movies Moffittrwent a radical change in the 1940s as the gentleinvestigator assumed a cynical and ruthless garb. Unusual lighting, vividdialogue and a gloomy overtone in films such as 'The Brasher Doubloon,'produced in 1947, and 'Lady in the Lake,' produced in 1946, rendered themgeneric. The sadist private detective Mike Hammer, portrayed by RobertAldrich in a violent movie, 'Kiss Me Deadly,' influenced the works ofFrench and European directors.
- Roulston, Helen H.
- "Opera in gangster movies: from Capone to Coppola." (Al Capone, Francis Ford Coppola) Journal of Popular Culture v32, n1 (Summer, 1998):99 (1 page).
- The stereotypical attitude of Americans towards Italian gangsters, Italianopera and foreigners are depicted in a number of movies. A prime exceptionto the anti-opera attitude was the popularity of Italian tenor EnricoCaruso who was adored by gangsters such as Big Jim Colosimo and Al Capone.Among the most popular movies dealing with gangsters and the opera areFrancis Ford Coppola's 'Godfather' series which used operatic elements suchas arias, duets and trios.
- The stereotypical attitude of Americans towards Italian gangsters, Italianopera and foreigners are depicted in a number of movies. A prime exceptionto the anti-opera attitude was the popularity of Italian tenor EnricoCaruso who was adored by gangsters such as Big Jim Colosimo and Al Capone.Among the most popular movies dealing with gangsters and the opera areFrancis Ford Coppola's 'Godfather' series which used operatic elements suchas arias, duets and trios.
- Sandell, Jillian
- "Reinventing masculinity: the spectacle of male intimacy in the films of John Woo."Film Quarterly Summer 1996 v49 n4 p23(12) (7470 words)
UC users only
- "Woo's films feature men who can inflict physical violence and yet not be afraid to show their emotions. Woo shows a bond of friendship and loyalty between his protagonists which is very strong. His gangster films 'A Better Tomorrow' and 'A Better Tomorrow 2' are used to demonstrate his portrayal of men." [Expanded Academic Index]
- Sarris, Andrew
- "Big funerals: the Hollywood gangster, 1927-1933." Film Comment;
Vol.XIII nr.3 (May-June 1977); p.6-9
- Descriptions of the primary gangster films of the late silent-early sound period
- Schilling, Mark.
- "Yakuza films: fading celluloid heroes." (gangster movies of Japan)Japan Quarterly v43, n3 (July-Sep, 1996):30 (13 pages).
- Japanese yakuza films are gradually disappearing from theater screens dueto changes initiated by audience choices and market pressures. Thegood-gangster classics of the 1960s have been replaced by action movies inthe modern Hollywood style. The primacy of the small screen and the dearthof actors to carry forward the yakuza tradition have also contributed tothe fading of the yakuza celluloid era. Although the genre has beenrecreated in films such as 'Sonatine,' moviegoers have refused to be lured.Yakuza stars of the classic ninkyo eiga such as Takakura are unlikely torevive the magic of the yakuza.
- Schrader, Paul
- "Yakuza-eiga: a primer." Film Comment;Vol.X nr.1 (Jan-Feb 1974); p.8-17
- Discusses the new Japanese genre 'yakuza-eiga', incl. its history, themes, conventions, stylistics,leading actors, directors, and writers, and its relation to the social structure of modern Japan.
- Shadoian, Jack
- "America the ugly: Phil Karlson's '99 River Street'." Film Culture;
nr.53-54-55 (Spring 1972); p.286-292
- Analyses "99 River Street" as a prototype of gangster films and B-films of the 1950's, and its placein the history of the genre.
- Sharrett, Christopher.
- "The crime film as American parable." (column) USA Today (Magazine) v119, n2552 (May, 1991):67 (1 page)
- Sinclair, Iain.
- "Smart guys." Sight & Sound ns6 (Aug. '96) p. 22-4.
- Part of a special section on gangster movies. The writer discusses the crossover points between the worlds of show business and crime in London, focusing on Ronnie and Reggie Kray and their associates. He highlights the confusions between "personalities" with a fancy for the lowlife and lowlifers who dressed and behaved like celluloid princes. He describes how the Krays used their connections with film and television stars as assertions of their own power, their dominance over every aspect of life in London.
- Smith-Shomade, Beretta E.
- "'Rock-A-Bye, Baby!': Black Women Disrupting Gangs and Constructing Hip-Hop Gangsta Films." Cinema Journal. 42 (2): 25-40. 2003 Winter
- Springhall, John.
- "Censoring Hollywood: youth, moral panic and crime/gangster movies of the 1930s."Journal of Popular Culture (Winter, 1998):135 (1 page).
- "'Moral panic' is a term used to describe excessive public concern which mayfocus on behavior, or on aspects of culture seen as likely to promotemisbehavior. Gangster movies were seen as endangering children's morals inthe 1930s, and some young men who were already criminally inclined may haveused gangster movies as one source for behavioral cues. This does not meanthat the movies did more that suggest what form such crimes might take.Entertainment that is popular among young people has, throughout history,aroused social concern, and this includes modern computer games." [Expanded Academic Index]
- Telotte, J. P.
- "The Detective as dreamer."Journal of Popular Film and Television v. 12 (Spring '84) p. 4-15.
- Wiley, Bess.
- "Lethal weapon: new look for old theme" cop film." American Cinematographer v. 68 (Apr. '87) p. 52-4+.
- Wilson, David Title:
- "Inside observations."Screen (London, England) v. 34 (Spring '93) p. 76-9.
- Winokur, Mark.
- "Eating children is wrong: the ethnic family in gangster films of the 80's and 90's."Sight & Sound v. 1 (Nov. '91) p. 10-13.
- Examines the way ethnicity is used in US gangster films. Four main themes of nostalgia, fratricide,incest and power are studied within a family setting, with the use of many film references.
- Winokur, Mark.
- "Marginal Marginalia: The African-American Voice in the Nouvelle Gangster." Film Velvet Light Trap. 35:19-32. 1995 Spring.
- Young, Nerys.
- "'We May Be Rats, Crooks and Murderers, but We're Americans': Controlling the Hollywood Gangster Protagonist during Early World War II." Irish Journal of American Studies. 9:112-28. 2000
Reviews/Articles About Individual Films in the MRC Collection
Alphaville
Bad Lieutenant
- Cohn, Lawrence.
- "Bad Lieutenant." (movie reviews) Variety v347, n3 (May 4, 1992):284 (2 pages).
- Corliss, Richard.
- "Bad Lieutenant." (movie reviews) Time v140, n20 (Nov 16, 1992):95 (3 pages).
UC users only
- Dargis, Manohla
- "Malice toward nuns." (motion picture director Abel Ferrara) (Interview)
Artforum International, March 1993 v31 n7 p71(4)
UC users only
- "Motion picture director Abel Ferrara has directed seven feature films in 13 years, with 'Bad Lieutenant' done in 1992. The movie focuses on the worst kind of policeman who has a return of faith in the end and is redeemed. Ferrara considers himself a moral filmmaker who attempts to convey the potential of forgiveness in the film. He says making movies is about asking questions and is a changing process." [Expanded Academic Index]
- Kermode, Mark.
- "Bad Lieutenant." (movie reviews) Sight and Sound v3, n2 (Feb, 1993):40 (1 page).
- Lehman, Peter.
- "The Male Body within the Excesses of Exploitation and Art: Abel Ferrara's Ms. 45, Cat Chaser, and Bad Lieutenant." The Velvet L
- Lyons, Donald.
- "Bad Lieutenant." (movie reviews) Film Comment v28, n6 (Nov-Dec, 1992):6 (2 pages).
- Maslin, Janet.
- "Bad Lieutenant." (movie reviews) New York Times v142 (Fri, Nov 20, 1992):B2(N), C15(L), col 1, 16 col in.
- Pettersson, Ron.
- "Bad Lieutenant (1992): Everyday Christ."Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 22: (no pagination). 2002 Sept-Oct.
- Powers, John.
- "Bad Lieutenant." (movie reviews)New York v26, n5 (Feb 1, 1993):54 (1 page).
- Rich, B. Ruby.
- "Art house killers."(violence in 1990s cinema)
Sight and Sound, Dec 1992 v2 n8 p5(2)
- "US, British and European films have shifted focus in the 1990s from sex to violence as is evident in films such as Quentin Tarantino's 'Reservoir Dogs,' John Woo's 'Hard Boiled' and Abel Ferrara's 'The Bad Lieutenant.' This trend seems to reflect the wave of interracial violence generated around the world by the end of the Cold War. These violent movies, aswith sexy movies of the 1960s, offer viewers cathartic release for the frustrations they encounter in real life. They probably do not instigate real life violence. On the other hand, on-screen violence is probably not what some viewers want." [Expanded Academic Index]
- Romeny, Jonathan.
- "Bad Lieutenant." (movie reviews) New Statesman & Society v6, n240 (Feb 19, 1993):34 (2 pages).
- Salamon, Julie.
- "Bad Lieutenant." (movie reviews)Wall Street Journal (Thu, Feb 4, 1993):A16(W), A16(E), col 2, 9 col in.
- Smith, Gavin; Kermode, Mark
- "The gambler./ Bad lieutenant."Sight & Sound Vol III nr 2 (Feb 1993); p 20-23,40
- "Abel Ferrara has directed several critically acclaimed films, and he has just completed the film 'Bad Lieutenant.' He talks about the aesthetic decisions that went into making 'Bad Lieutenant' and his other films such as 'China Girl,' 'Ms. 45' and 'The Bodysnatchers.' Ferrara says he tries to portray the gritty reality of life, but he filters that through his own experiences and imagination. He often explores violent and brutal themes in his work because they reflect reality and offer insights into compelling human drama." [Expanded Academic Index]
- Taylor, Simon J.
- "'It All Happens Here': Locating Salvation in Abel Ferrara's Bad Lieutenant." Journal of Religion and Film. 7 (1): 15 paragraphs. 2003 Apr.
- Travers, Peter.
- "Bad Lieutenant." (movie reviews) Rolling Stone, n644 (Nov 26, 1992):77 (2 pages).
- West, Rebecca.
- "From Lapsed to Lost: Scorsese's Boy and Ferrara's Man."
In: Beyond the margin : readings in Italian Americana / edited by Paolo A. Giordano and Anthony Julian Tamburri. pp: 198-222 Madison, N.J. : Fairleigh Dickinson University Press ; London : Associated University Presses, c1998. Main Stack PS153.I8.B495 1998
Basic Instincts
- Austin, Thomas
- "'Desperate to See It': Straight Men Watching Basic Instinct."
In: Identifying Hollywood's audiences : cultural identity and the movies / edited by Melvyn Stokes and Richard Maltby.
London : British Film Institute, 1999.
Main Stack PN1993.5.U65.I34 1999
PFA PN1995.9.A8.I33 1999
- Battistini, Robert.
- "Basic Instinct: Revisionist Hard-On, Hollywood Trash, or Feminist Hope?" Cinefocus vol. 2 no. 2. 1992 Spring.pp: 38-43.
- Bowman, James.
- "To die in bed." (the sex-death complex in motion pictures)
American Spectator v25, n6 (June, 1992):47 (3 pages).
- Hollywood's preoccupation with sex and death is analyzed in the motionpictures 'Basic Instinct' and 'Sea of Love.' The themes of narcissism,hatred and sexual love as depicted in other motion pictures are analyzed.
- "Censors on the street." (gay activists protest against "Basic Instinct") Time v137, n19 (May 13, 1991):70 (1 page).
- Danziger, Marie.
- "Basic Instinct: Grappling for Post-Modern Mind Control." Literature/ Film Quarterly vol. 22 no. 1.1994. pp: 7-10.
- The movies 'Basic Instinct' and 'The Player' portray struggles for controlover the narrative as a conflict fueled by evil writers. 'The Player' has amovie executive hoMoffittd by screenwriters he has rejected, killing one ofthem but remaining in danger from another. 'Basic Instinct' has a copagainst a female writer of murder mysteries, with the narrative threatenedby a manipulative psychologist who usurps the writer's villainy. These twomovies reflect a trend of distrust of writers.
- Deleyto, Celestino.
- "The margins of pleasure: female monstrosity and male paranoia in 'Basic
Instinct.'"
Film Criticism v21, n3 (Spring, 1997):20 (23 pages).
- The "monstrous" female protagonist in erotic thrillers reflects maleparanoia about gender relationships. 'Basic Instinct,' one of the mostpopular films of this genre, portrays women as a source of violence andpsychosis. The duplicitous ending of the film demonstrates its inability toacknowledge changes in female sexuality in the latter part of the 20thcentury, and portrays women as sexual and behavioral monsters.
- The writer argues that the representation of female monstrosity in the motion picture Basic Instinct is the product of a paranoia related to gender relationships in contemporary society. He analyzes the central "monstrous" female protagonist and the gender and sexual relationships constructed around the femme fatale in the film. He notes that the film moves uneasily between an adamant defense of the existence of an incomprehensible feminine essence and an equally insistent affirmation of the instability of cultural forms of gender difference. Drawing on Freud's account of paranoia as a defense against homosexuality, he explains the crisis of masculinity that dominates the film. In addition, he argues that the specific dimensions of this male paranoia must be contextualized within the historical moment in which the movie is produced.
- The "monstrous" female protagonist in erotic thrillers reflects maleparanoia about gender relationships. 'Basic Instinct,' one of the mostpopular films of this genre, portrays women as a source of violence andpsychosis. The duplicitous ending of the film demonstrates its inability toacknowledge changes in female sexuality in the latter part of the 20thcentury, and portrays women as sexual and behavioral monsters.
- Freiberger, Erich-D.
- "In the Beginning Was the Act: Basic Instinct as the Cinematic Image of Freud's Death Drive." Literature and Psychology, 2000, 46:4, 1-25.
- Hoberman, J.
- "Fantastic projections." (criticism of director Paul Verhoeven's movie'Basic Instinct') Sight and Sound v2, n1 (May, 1992):4 (1 page).
- Galvin, Angela
- "Basic Instinct: Damming Dykes." In: The good, the bad and the gorgeous : popular culture's romance with lesbianism / edited by Diane Hamer and Belinda Budge. London : Pandora, 1994. Main Stack HQ75.5.G66 1994
- Holmlund, Chris.
- "Cruisin' for a Bruisin': Hollywood's Deadly (Lesbian) Dolls." Cinema Journal vol. 34 no. 1. 1994 Fall. pp: 31-51.
- Johnson, Brian D.
- "Killer movies." (violence in motion pictures) (Cover Story) Maclean's v105, n13 (March 30, 1992):48 (4 pages).
- The motion picture 'Basic Instinct' is the latest in a line of moviesportraying violence and killing in a graphic way. These movies are tappingthe popular fascination with brutal violence and sexual menace.
- Kamaluddin, Sabiha.
- "Basic Instinct and American Culture." Indian Journal of American Studies 1995 Summer, 25:2, 113-16.
- Kauffman, L.A.
- "Queer guerrillas in Tinseltown." (protesting movie portrayals of gays and
lesbians) Progressive v56, n7 (July, 1992):36 (2 pages).
- Militant protesters sought to mar the opening of 'Basic Instinct,' claimingthat its murderous lesbian character caters to public homophobia andincites gay-bashing. Well-planned protests grab excellent media coveragefor the gay movement, but the issue of portrayals is not a solid long-termorganizing issue.
- Leo, John.
- "The politics of intimidation." U.S. News & World Report v112, n13 (April 6, 1992):24 (1 page).
- Both the AIDS Coalition to Unleash Power and Queer Nation have charged thatthe film 'Basic Instinct' is antihomosexual. Vandalism and intimidationwere used in an effort to disrupt the filming. Other acts of vandalism andharassment by the organizations are discussed.
- McKenna, Andrew J.
- "Public Execution." In:
Legal Reelism: Movies as Legal Texts / edited by John Denvir. pp: 225-43. Urbana: University of Illinois Press, c1996. Main Stack PN1995.9.J8.L45 1996 Moffitt PN1995.9.J8.L45 1996
- Picardie, Ruth.
- "Mad, bad and dangerous." (gay film makers and gay opposition to the film'Basic Instinct') New Statesman & Society v5, n200 (May 1, 1992):36 (1 page).
- Gays have come out in opposition to the mainstream Hollywood film 'BasicInstinct' because its main character is a bisexual murderess. However, thecutting edge of gay cinema highlights the connection between sex andviolence. The gay community should abandon such a double standard whenjudging film.
- Sharrett, Christopher.
- "Hollywood homophobia." (Column)USA Today (Magazine) v121, n2566 (July, 1992):93 (1 page).
- An anti-gay themes are found both in serious films and in exploitative junkmovies. The homophobic images of 'Basic Instinct,' 'The Silence of the Lambs' and 'JFK' are explored.
- Siegel, Carol.
- "Compulsory Heterophobia: The Aesthetics of Seriousness and the Production
of Homophobia." In:
Forming and Reforming Identity / edited by Carol Siegel and Ann Kibbey. pp: 319-38. New York: New York University Press, c1995. Genders; 21
Main Stack HQ1075.F674 1995
Moffitt HQ1075.F674 1995
- Simpson, Janice C.
- "Out of the celluloid closet: gay activists are on a rampage againstnegative stereotyping and other acts of homophobia in Hollywood." Time v139, n14 (April 6, 1992):65 (1 page).
- Gays and lesbians are becoming more strident in their insistence thatmainstream movies portray them more honestly. They complain that movieslike 'Basic Instinct' perpetuate negative stereotypes, and havedemonstrated at its opening. Hollywood responds that realistic movies havenever made enough money.
- Sutherland, Katherine.
- "Beauty and the Beast, Basic Instinct and Barton Fink: The Pursuit of Textual Satisfaction." Textual Studies in Canada-Etudes Textuelles au Canada 1994, 4, 81-91.
- Wood, Robert E.
- "Somebody Has to Die: Basic Instinct as White Noir." Post Script: Essays in Film and the Humanities ISSUE: vol. 12 no. 3. 1993 Summer. pp: 44-51.
A Better Tomorrow
-
Blackmail
-
Blood Simple
- Attanasio, Paul.
- "Blood Simple." (moving-picture reviews)Washington Post v108 (Fri, Feb 8, 1985):C1, col 1, 30 col in.
- Attanasio, Paul.Attanasio, Paul.
- "Brothers in film noir; the complicated joys of making 'Blood Simple'."(Joel and Ethan Coen) Washington Post v108 (Sun, Feb 3, 1985):F1, col 3, 66 col in.
- Grimes, Larry E.
- "Shall These Bones Live? The Problem of Bodies in Alfred Hitchcock's Psycho and Joel Coen's Blood Simple." In: Screening the sacred: religion, myth, and ideology in popular American film / edited by Joel W. Martin, Conrad E. Ostwalt, Jr. pp: 19-29 Boulder: Westview Press, 1995. Main Stack PN1995.5.S36 1995
- Klemesrud, Judy.
- "The brothers Coen bow in with 'Blood Simple'." New York Times v134, sec2 (Sun, Jan 20, 1985):H17, col 1, 54 col in.
- Lidz, Franz.
- "Brothers who practice the art of the put-on."(re-release of director's cut of 'Blood Simple' by Ethan and Joel Coen) New York Times (Sun, July 2, 2000):AR9(N), AR9(L), col 1, 25 col in.
- Maslin, Janet.
- "Blood Simple." (moving-picture reviews)New York Times v134 (Fri, Jan 18, 1985):14(N), C4(L), col 2, 7 col in.; v134 (Fri, Oct 12, 1984):22(N), C10(L), col 3, 10 col in.
- Salamon, Julie.
- "Tongue-in-chic horror." (making of the film 'Blood Simple') Wall Street Journal (Thu, Jan 17, 1985):22(W), 24(E), col 5, 14 col in.
- Thomas, Kevin.
- "Blood Simple." (moving-picture reviews) Los Angeles Times v104, secVI (Thu, Feb 28, 1985):1, col 4, 14 col in.
Boiling Point
-
Bonnie and Clyde
- Arthur Penn's Bonnie and Clyde
- Edited by Lester D. Friedman. Cambridge, U.K.; New York: Cambridge University Press, 2000. Cambridge film handbooks series Main Stack PN1997.B6797 2000
- Bernstein, Matthew.
- "Perfecting the New Gangster: Writing Bonnie and Clyde."
Film Quarterly, 2000 Summer, 53:4, 16-31.UCB users only
- "Bonnie and Clyde integrates Hollywood and French new wave filmmaking like no other movie. The writing and production of the film indicate Hollywood's postwar affinity for film noir and the rural gangster couple subgenre, along with the phenomenological aesthetic and existential ethos of the French new wave. Screenwriters David Newman and Robert Benton and director Arthur Penn all intensely admired the French new wave, and this is evidenced in the film's early 1964 treatment and various script drafts. Surprisingly, Newman and Benton's spiritual and stylistic mentor, Francois Truffaut, encouraged the movement toward traditional Hollywood dramaturgy. Meanwhile, Penn pushed the movie closer to the French new wave aesthetic, and ultimately, Bonnie and Clyde became a New Hollywood film." [Art Abstracts]
- Biskind, Peter.
- Easy riders, raging bulls: how the sex-drugs-and-rock-'n'-roll generation
saved Hollywood / Peter Biskind. New York, NY: Simon & Schuster, c1998. UCB Bancroft PN1998.2 .B56 1998 UCB Main PN1998.2 .B56 1998 UCB Moffitt PN1998.2 .B56 1998
- Deer, Harriet A.
- "The Popular Arts: Suicide and Society in the Sixties." In:
Youth Suicide Prevention: Lessons from Literature / edited by Lagretta T. Lenker, Sara Munson Deats. pp: 191-204.
New York, N.Y.: Plenum Press, [1989]
Educ/Psych PS169.S85.Y68 1989
Moffitt PS169.S85.Y68 1989
- Coles, Robert.
- "Bonnie And Clyde" And "The Graduate": Hollywood's New Social Criticism.Trans-action 1968 5(5): 15-21.
- "In reviewing these two films, the author states that Hollywood has developed a new dimension in social criticism. Until Bonnie and Clyde, Hollywood pictured the criminal as a good guy gone bad, a safe form of social criticism. But Bonnie and Clyde illustrates an antisocial, anarchistic point of view that no system, Right or Left, can tolerate. They signify that the life of crime can give some individuals a more positive social outlook, even if only to their own kind. The Graduate portrays the basic thinness of our affluent and sensual world. It explores the right of the individual to rebel against his society. Its struggle of the individual trying to find himself is not much different from what the author discovered among Negroes in Mississippi. The characterization is believable and the symbolism is heavy. It is concluded that the movie director has as much right as the novelist to engage in such "realism, surrealism, and social satire."" [America History and Life]
- Creekmur, Corey K.
- "On the run and on the road : fame and the outlaw couple in American cinema." In:
The road movie book / edited by Steven Cohan and Ina Rae Hark. London ; New York : Routledge, 1997. Main Stack PN1995.9.R63.R63 1997
- Farber, Stephen
- "Bonnie and Clyde." (review) Sight and Sound v 37 no4 Autumn 1968. p. 174-5
- Geduld, Carolyn
- "Bonnie and Clyde." In: Renaissance of the film. Edited and with an introd. and headnotes by Julius Bellone. [New York] Collier Books [1970]
Moffitt PN1993.5 A1.B45 1970
- Johnson, A.
- "Bonnie and Clyde." (review)Film Quarterly v 21 no2 Winter 1967/1968. p. 45-8
- Kael, Pauline.
- "Bonnie and Clyde." (review) In: Kiss kiss bang bang. [1st ed.] Boston, Little, Brown [1968] Main Stack PN1995.K24
- Lawson, John H.
- "Our Film and Theirs: Grapes of Wrath and Bonnie and Clyde." American Dialog, 1968-69, 5:2, 30-33.
- Leong, Ian; Mike Sell; and Kelly Thomas
- "Mad love, mobile homes, and dysfunctional dicks: on the road with Bonnie and Clyde." In:
The road movie book / edited by Steven Cohan and Ina Rae Hark. London ; New York : Routledge, 1997.
Main Stack PN1995.9.R63.R63 1997
- Lunstad, Jana Kay.
- "But You Wouldn't Have the Gumption to Use It": Bonnie and Clyde and the Sexual Revolution." Left History [Canada] 1999 6(1): 7-29.
- "Uses the gangster genre of films, particularly Bonnie and Clyde (1967), to reveal that female characters within the genre illuminate not only the ideological and formal structure of these films but the social changes they reflect, from 1930 to 1995. The film addresses male and female issues of sexuality and depicts Bonnie Parker in a key role openly expressing her sexuality and intellectual desires, reflecting a new concept and role for women as the women's movement swept the nation in the 1960's." [America History & Life]
- Macnab, Geoffrey.
- "Song of the open road." (film director Arthur Penn)Sight and Sound v9, n8 (August, 1999):58 (2 pages).
- Arthur Penn's 'Bonnie and Clyde' is being released as part of the MaverickDirectors III Collection from Warner Home Video. The film starred FayeDunaway and Warren Beatty as the ill-fated couple Bonnie Parker and ClydeBarrow, while cinematography was handled by Bernie Guffey. Penn wasapproached with the 'Bonnie and Clyde' project whilst taking time out withhis family after completing 'The Chase'.
- Man, Glenn
- "1967-1968, the wonder year, part I : Bonnie and Clyde."In: Radical visions : American film renaissance, 1967-1976 / Glenn Man. Westport, Conn. : Greenwood Press, 1994. Contributions to the study of popular culture ; no. 41
Main Stack PN1993.5.U6.M247 1994
Moffitt PN1993.5.U6.M247 1994
- Miller, Joyce.
- "From Bonnie and Clyde to Thelma and Louise: The Struggle for Justice in the Cinematic South."Studies in Popular Culture, 1996 Oct, 19:2, 277-86.
- Milne, T.
- "Bonnie and Clyde." (review) Sight and Sound v 36 no4 Autumn 1967. p. 203-4
- Moriel, Liora.
- "Erasure and Taboo: A Queer Reading of Bonnie and Clyde." In:
Arthur Penn's Bonnie and Clyde / edited by Lester D. Friedman. pp: 148-76 Cambridge, U.K.; New York: Cambridge University Press, 2000. Cambridge film handbooks series
Main Stack PN1997.B6797 2000
- Murray, Edward.
- "Bonnie and Clyde." In: Ten film classics : a re-viewing / Edward Murray New York : F. Ungar Pub. Co., c1978 (Series: Ungar film library)
Main Stack PN1995.M844
- Nemecek, Maureen.
- "From Aesthesia to Anesthesia: Three Decades of Violence in Film." Society for the Interdisciplinary Study of Social Imagery. Conference (5th: 1995: Colorado Springs, Co.) pp: 168-73 Pueblo, Co.: The Society, 1995.
Main Stack P96.V5.S66 1995
- "Bonnie and Clyde." In:Past imperfect : history according to the movies / general editor, Mark C. Carnes ; edited by Ted Mico, John... 1st ed. New York : H. Holt, 1995. Henry Holt reference book.
- Main Stack PN1995.9.H5.P37 1995 Moffitt PN1995.9.H5.P37 1995
- Pym, John.
- "Black hat, yellow hat." (from 'Bonnie & Clyde' to 'Dick Tracy')Sight and Sound v59, n4 (Autumn, 1990):264 (2 pages).
- Rittger, Guy C.
- "The Regime of the Exploding Body and the Erotics of Film Violence: Penn, Peckinpah, Tarantino, and Beyond ..." Society for the Interdisciplinary Study of Social Imagery. Conference (5th: 1995: Colorado Springs, Co.) pp: 357-62.
Pueblo, Co.: The Society, 1995. Main Stack P96.V5.S66 1995
- Samuels, Charles Thomas
- "Bonnie and Clyde." In: Mastering the film and other essays / by Charles Thomas Samuels ; edited by Lawrence Graver. 1st ed. Knoxville : University of Tennessee Press, c1977. Main Stack PN1994.S334 1977
- Steele, Robert.
- "The Good-Bad And The Bad-Good In Movies: "Bonnie and Clyde" And "In Cold Blood.""Catholic World 1968 207(1238): 76-80.
- Toplin, Robert Brent
- "Bonnie and Clyde : "violence of a most grisly sort." In: History by Hollywood : the use and abuse of the American past / Robert Brent Toplin. Urbana : University of Illinois Press, c1996.
Main Stack PN1995.9.H5.T66 1996
- Williams, F. D.
- "The Morality of Bonnie and Clyde." Journal of Popular Culture 1970 4(1): 299-307.
- Interprets Bonnie and Clyde as a highly moralistic summary of the experience of the Depression, and "a revealing critique of American life," with serious comments on law and order, the abuses of government, and man's duty to his fellow men.
- Zuker, Joel Stewart.
- Arthur Penn: A Guide to References and Resources / Joel S. Zuker Boston: G. K. Hall, c1980 Reference publication in film. Main Stack PN1998.A3.P4389 NRLF #: B 3 569 709
Moffitt PN1998.A3.P4389
Bound
-
Bullets Over Broadway
-
Bullets Over Broadway
-
Chinatown
-
Cotton Club
-
Criss Cross
-
Dick Tracy
- Alleva, Richard.
- "Dick Tracy." (movie reviews) Commonweal v117, n14 (August 10, 1990):456 (2 pages).
- Ansen, David.
- "Dick Tracy." (movie reviews) Newsweek v115, n26 (June 25, 1990):48 (1 page).
- Blake, Richard A.
- "Dick Tracy." (movie reviews) America v163, n2 (July 14, 1990):42 (1 page).
- Canby, Vincent.
- "Dick Tracy." (movie reviews) (Living Arts Pages)New York Times v139 (Fri, June 15, 1990):B1(N), C1(L), col 3, 28 col in.
- Corliss, Richard.
- "Dick Tracy." (movie reviews) Time v135, n25 (June 18, 1990):74 (1 page).
- Corliss, Richard.
- "Extra! Tracy is tops; Warren Beatty creates the best comic-strip movieyet." (making of "Dick Tracy") Time v135, n25 (June 18, 1990):74 (3 pages).
- Johnson, Brian D.
- "Dick Tracy." (movie reviews)Maclean's v103, n25 (June 18, 1990):51 (1 page).
- Kauffmann, Stanley.
- "Dick Tracy." (movie reviews) New Republic v203, n2-3 (July 9, 1990):32 (1 page).
- Pym, John.
- "Black hat, yellow hat." (from 'Bonnie & Clyde' to 'Dick Tracy')Sight and Sound v59, n4 (Autumn, 1990):264 (2 pages).
- Rafferty, Terrence.
- "Dick Tracy." (movie reviews) New Yorker v115, n20 (July 2, 1990):56 (1 page).
- Salamon, Julie.
- "Dick Tracy." (movie reviews) Wall Street Journal (Thu, June 14, 1990):A12(W), A12(E), col 1, 23 col in.
- Shipman, David.
- "Dick Tracy." (movie reviews) Contemporary Review v258, n1503 (April, 1991):215 (1 page).
- Simon, John.
- "Dick Tracy." (movie reviews) National Review v42, n14 (July 23, 1990):48 (3 pages).
- Travers, Peter.
- "Dick Tracy." (movie reviews) Rolling Stone, n582-83 (July 12, 1990):41 (1 page).
Dressed to Kill
-
Fargo
- See Coen Brothers bibliography
French Connection
- Berliner, Todd.
- "The Genre Film as Booby Trap: 1970s Genre Bending and The French Connection." Cinema Journal. 40(3):25-46. 2001.
- Clagett, Thomas D., 1956-
- William Friedkin: films of aberration, obsession, and reality / by Thomas
D. Clagett. Jefferson, N.C.: McFarland, c1990. UCB Main PN1998.3.F75 C4 1990
- "Dialogue on film. William Friedkin." (Interview).American Film XV/15, Dec 1990; p.18-20,22-23. Illustration(s).
- Director W.F. discusses his work, esp. "Sorcerer" and "The French connection", and the state of current filmmaking.
- Gow, Gordon
- "The French Connection." (Review).Films & Filming XVIII/6, Mar 1972; p.50. Illustration(s).
- Kermode, Mark .
- "Chasing down the R.E.A.L." (filming the car chase in 'French Connection') Sight and Sound Jan 2000 v10 i1 p28(2)
- "The memorable car chase from the Oscar winning 'French Connection' was shot along a very narrow road Moffittr the elevated railway in New York. Parts of the chase were actually shot at 90 miles per hour through city traffic with stunt driver Bill Hickman at the wheel, after director William Friedkin challenged him to produce more exciting footage. A documentary on the film by Russell Leven entitled 'Poughkeepsie Shuffle' is to be shown on BBC2 during January 2000." [Expanded Academic Index]
- "Photographing 'The French Connection'."American Cinematographer LIII/2, Feb 1972; p.158-161,184-185,211,213-219.
- Discusses the problems of lighting and photographing the film. Incl. interview with Owen Roizman, director of photography.
- Kermode, Mark.
- "Chasing down the R.E.A.L." (filming the car chase in 'French Connection')Sight and Sound v10, n1 (Jan, 2000):28 (2 pages).
- Segaloff, Nat.
- Hurricane Billy: the stormy life and films of William Friedkin / Nat Segaloff. 1st ed. New York: Morrow, 1990.
UCB Main PN1998.3.F75 S4 1990
- Shedlin, M.
- "Police Oscar: 'The French Connection'." (Article+Interview).Film Quarterly XXV/4, Summer 1972; p.2-9. Illustration(s).
- An analysis of the "The French connection"', followed by an interview with its director W.F.
- Spotnitz, Frank.
- "William Friedkin: blessed by the angel that watches over movies." (motion
picture director) (interview)American Film v15, n15 (Dec, 1990):18 (5 pages).
The Godfather
-
Goodfellas
-
Klute
- Gledhill, Christine.
- "Klute 1: A Contemporary Film Noir and Feminist Criticism; 2: Feminism and
Klute." In: Women in film noir / edited by E. Ann Kaplan. pp: 6-21; 112-128. Rev. ed. London: BFI Publishing, 1980. UCB Main PN1995.9.W6 W66 1980 UCB Moffitt PN1995.9.W6 W66 1980
- Gustafson, J.
- "The whore with the heart of gold: a second look at Klute and
McCae and Mrs. Miller." Cineaste XI/2, 1981; p.14-17. Illustration(s).
- Untraditional treatment of heroines in A. Pakula's "Klute" and R. Altman's "McCabe and Mrs. Miller".
- Untraditional treatment of heroines in A. Pakula's "Klute" and R. Altman's "McCabe and Mrs. Miller".
- Wood, Robin
- "Klute." (Article).Film Comment VIII/1, Spring 1972; p.32-37. Illustration(s).
- Analysis of the film's style, structure, theme.
- Analysis of the film's style, structure, theme.
- Lukas, Karli.
- "Klute." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 13: (no pagination). 2001 Apr-May
The Night of the Hunter
- Agee, James.
- "Night of the Hunter." In: Film writing and selected journalism / James Agee. New York : Library of America : Distributed in the U.S. by Penguin Putnam, c2005. The library of America ; 160
Main Stack PS3501.G35.A6 2005b
Grad Svcs XMAC.A265.F55
- Bauer, Stephen F.
- "Oedipus again: A critical study of Charles Laughton's The Night of the Hunter." Psychoanalytic Quarterly. Vol 68(4), Oct 1999, pp. 611-636
- Cull, Lara; Bachmann, Goetz.
- "In the name of love." Contemporary, no. 59, 2004, pp. 48-9,
- Folks, Jeffrey J.
- "James Agee's Filmscript for The Night of the Hunter." The Southern Quarterly: A Journal of the Arts in the South, vol. 33, no. 2-3, pp. 151-60, Winter 1995.
- Gow, Gordon
- "The cult movies: The night of the hunter." Films & Filming Vol XXI nr 5 (Feb 1975); p 48-53
- Analysis of the theme of conflict between good and evil, and the techniques and methods used to convey the conflict in this film.
- Gross, Larry
- "Baby, I don't care." Sight & Sound Vol VII nr 9 (Sept 1997); p 6-9
- An analysis of Robert Mitchum's acting career focusing on "Out of the past", "The lusty men", "The night of the hunter" and "Cape Fear".
- Hammond, Paul
- "Melmoth in Norman Rockwell land... on 'The night of the hunter'." Sight & Sound Vol XLVIII nr 2 (Spring 1979); p 105-109
- Analysis and background to making the film.
- Jones, Preston Neal
- "Heaven and hell to play with : the filming of the Night of the hunter." In: Performing arts : motion pictures / [editor, Iris Newsom]. Washington : Library of Congress : For sale by the U.S. G.P.O., Supt. of Docs., 1998.
Main Stack PN1993.5.U6.P47 1998
- Mills, Moylan C.
- "Charles Laughton's Adaptation of The Night of the Hunter." Literature/Film Quarterly, vol. 16, no. 1, pp. 49-57, 1988.
- Assesses the extent of James Agee's involvement with the script of Charles Laughton's adaptation of the Davis Grubb novel 'The night of the hunter'.
- Moorhouse, Jocelyn
- "Enduring." Sight & Sound Vol V nr 4 (April 1995); p 61
- Jocelyn Moorhouse gives her private view on the experience of watching Charles Laughton's "The night of the hunter".
- Thomson, David.
- "A child's demon: The magic of Charles Laughton's Southern gothic one-off 'The Night of the Hunter' may be in Robert Mitchum's willing flamboyance." Sight and Sound (April 1999): 20(3).
- An analysis of Charles Laughton's "The night of the hunter" which looks at its connections to the Davis Grubb novel from which it is adapted.
Little Caesar
- Brill, Lesley.
- "Growing Up Gangster: Little Caesar, The Public Enemy, and the American Dream." In: Hollywood : reflexions sur l'ecran / textes recueillis et presentes par Daniel Royot ; Groupe de recherche et d'etudes nord-americaines.
Aix-en-Provence : Publications, Universite de Provence ; Marseille : Diffusion, J. Laffitte, 1984.
Main Stack PN1993.5.U6.H5921 1984
oyot, Daniel (ed.). (1984). Hollywood: Réflexions sur l'écran. (pp. 10-22). Aix-en-Provence: Groupe de Recherche et d'Études Nord-Americaines, Univ. de Provence, 190 pp.
- Faragoh, Francis Edwards.
- Little Caesar / edited with an introd. by Gerald Peary. Madison, Wis. : Published for the Wisconsin Center for Film and Theater Research by the University of Wisconsin Press, 1981
Wisconsin/Warner Bros. screenplay series
- "Screenplay by Francis Edwards Faragoh from the novel by W. R. Burnett."
Main Stack PN1997.L589
- "Screenplay by Francis Edwards Faragoh from the novel by W. R. Burnett."
- Gansberg, Alan L.
- Little Caesar : a biography of Edward G. Robinson / Alan L. Gansberg.
Lanham, Md. : Scarecrow Press, 2004.
PFA PN2287.R7.G36 2004
Table of contents http://www.loc.gov/catdir/toc/ecip0412/2003027041.html
- Kaminsky, S.M..
- "Little Caesar and its role in the gangster film genre." Journal of Popular Film and Television; Vol.I nr.3 (Summer 1972); p.209-227
- Discusses characteristics of "Little Caesar" and their incorporation into other films in the gangstergenre.
- Mason, Fran
- American gangster cinema : from Little Caesar to Pulp fiction New York : Palgrave Macmillan, 2002.
MAIN: PN1995.9.G3 M37 2002 PFA : PN1995.9.G3 M37 2002;
- Munby, Jonathan.
- Public enemies, public heroes: screening the gangster from Little Caesar to Touch of Evil / Jonathan Munby. Chicago: University of Chicago Press, 1999.
Main Stack PN1995.9.G3.M86 1999 Moffitt PN1995.9.G3 M86 1999
- Peary, Gerald, Peary.
- "Rico Rising: Little Caesar Takes Over the Screen." In: The Classic American novel and the movies / edited by Gerald Peary and Robert Shatzkin. New York : F. Ungar Pub. Co., c1977.
Main Stack PN1997.85.C55
Miller's Crossing
- See Coen Brothers bibliography
Dr. Mabuse Series
Natural Born Killers
Musketeers of Pig Alley
Peeping Tom
Prizzi's Honor
Reservoir Dogs
- Scarface
Howard Hawks, 1932 SEE Hawks Bibliography
Brian De Palma, 1983 SEE De Palma Bibliography
Se7en (Seven)
- Brown, Royal S.
- "Seven." Cineaste 22.n3 (Summer 1996): 44(3).
UC users only
- Dyer, Richard.
- "Kill and kill again. (portrayal of serial killers in film and television)." Sight and Sound 7.n9 (Sept 1997): 14(4).
- Fleck, Patrice
- "Looking in the Wrong Direction: Displacement and Literacy in the Hollywood Serial Killer Drama."
Post Script: Essays in Film and the Humanities, vol. 16, no. 2, pp. 35-43, Winter 1997.
- The US 'serial killer' films of the 1990's are seen as a response to political conservatism and related solutions proposed for the crime problem; dwells on Se7en and The silence of the lambs.
- Hantke, Steffen.
- "Authorship in Serial Killer Narratives: David Fincher's Se7en." Sun Yat-sen Journal of Humanities, vol. 12, pp. 75-95, Spring 2001.
- Humphries, Reynold
- 'On the road again: rehearsing the death drive in modern realist horror cinema." Post Script XXII:2 (Winter-Spring 2003)
- Argues that repetitive murder as portrayed in several films signifies the killer's psychological and social alienation.
- Rombes, Nicholas.
- "A through s(Se7en): a racial taxonomy of serial killer cinema." Post Script 22.2 (Wntr-Spring 2003): 81(11).
UC users only
- Rejects contemporary film theory in an analysis of the role of race in several serial killer films.
- Summer, Edward.
- "Seven." Films in Review v. 47 (January/February 1996) p. 66-7
Publication Year: 1996
- A review of David Fincher's motion picture Seven. A reasonably conventional noir murder mystery, this commercially successful thriller has a look and a relatively suggestive sensibility that has been lacking in mainstream cinema for many years, strongly echoing the genius of the 1940s film noir. It is an extraordinary example of a proper use of the Color Correction Enhancement process and a reinvention of a long-lost aesthetic.
- Williams, David E.
- "The sins of a serial killer: The filming of Seven." American Cinematographer v. 76 (October 1995) p. 34-40+
- "Director David Fincher and cinematographer Darius Khondji's work on the film Seven is discussed. The film tells the story of two detectives on the trail of a serial killer who is seeking revenge for society's ills and who bases his crimes on the Seven Deadly Sins. Possessed by the story for Seven, which he related to as a horror fan, Khondji found inspiration while walking the nighttime streets of Manhattan. Working closely with Fincher, he felt that Seven "should be scary, but very modern," inspiring the duo to seek out visual examples of the look they wanted. While the film has a distinctive overall noir texture, Fincher and Khondji carefully created different looks for each of the crime scenes that the detectives come across." [Art Index]
- Wrathall, John.
- "Seven." Sight & Sound v. ns6 (January 1996) p. 49-50
- "Seven, directed by David Fincher, is a complex and disturbing example of the serial killer genre. Fincher has created the most authentically hellish screen metropolis since Gotham City, a nameless warren of damp corridors, subterranean sex joints, and dilapidated tenements, where it rains all the time. The film is packed with visual details that are plausible in terms of the plot but carry a powerful abstract or symbolic charge." [Art Index]
Sherlock Holmes Films
- Haydock, Ron.
- Deerstalker!: Holmes and Watson on screen by by Ron Haydock. Metuchen, N.J.: Scarecrow Press, 1978.
NRLF B 3 567 964
- Hinson, Hal
- "TV's damaged detectives are Sherlock's children." (new TV detective shows borrow from Sherlock Holmes) The New York Times Oct 13, 2002 pAR27(N) pAR27(L) col 1 (25 col in)
- Rimoldi, Oscar.
- "The detective movies of the 30s & 40s." (part 2) Films in Review v44, n7-8 (July-August, 1993):225 (10 pages).
- Fictitious detectives of the 1930s and 40s became screen heroes as theywere portrayed in movies. The most famous was Sherlock Holmes, created by Arthur Conan Doyle in 1887. The Lone Wolf, Sam Spade and Nancy Drew arethree other detective characters for audiences of varying age-groups. MrMoto, The Saint , Ellery Queen, Michael Shayne, Duncan Maclain and BostonBlackie were other famous fictitious detectives.
- Rimoldi, Oscar.
- "The detective movies of the 30s & 40s: part 3." Films in Review v44, n9-10 (Sept-Oct, 1993):308 (6 pages).
- Steinbrunner, Chris.
- The films of Sherlock Holmes / by Chris Steinbrunner and Norman Michaels. 1st ed. Secaucus, N.J.: Citadel Press, 1978.
UCB Main PN1995.9.S5 S7 1978
Sonatine
-
The Sopranos
- Auster, Albert
- "The Sopranos: the gangster redux. "Television Quarterly, Wntr 2001 v31 i4 p34(5)
- The cable television show 'The Sopranos' has reshaped the popular conception of hoodlums. The characters on this program exist largely in suburbia, face middle-class pressures, and portray people who are vulnerable as well as killers.
- Bondanella, Peter E.
- Hollywood Italians : dagos, palookas, romeos, wise guys, and Sopranos New York : Continuum, 2004.
MAIN: PN1995.9.I73 B66 2004 MOFF: PN1995.9.I73 B66 2004
Table of contents http://www.loc.gov/catdir/toc/ecip049/2003020663.html
- Bowman, James.
- "Superior Soap Opera." New Criterion. 18 (5): 58-62. 2000 Jan.
- Cavallero, Jonathan J.
- "Gangsters, Fessos, Tricksters, and Sopranos: The Historical Roots of Italian American Stereotype Anxiety." Journal of Popular Film and Television. 32 (2): 50-63. 2004 Summer.
UC users only
- "Throughout the 1930s, Italian characters challenged American ideals while simultaneously being blamed for their failure. Filmmakers and audiences were thus allowed to ponder the subversive challenges such characters posed while distancing themselves from similar thought patterns. Today, understanding the rhetorical use of these characters is essential when evaluating contemporary Italian American visions." [Expanded Academic Index]
- DeFino, Dean.
- "The Prince of North Jersey." Journal of Popular Film and Television. 32 (2): 83-89. 2004 Summer.
UC users only
- "Although many critics consider Tony Soprano from HBO's mob series The Sopranos a troubled Everyman, an emblem of the human need for redemption, the program reveals a postmodern politician more concerned with his leadership skills than his humanity. Caught between the Machiavellian poles of the humane prince and the beastly dictator, Tony is compelled to more and more beastly deeds in a struggle to achieve and maintain power among the ruins of a dying mob culture. Tony's desperate brutality, read against our surprisingly resilient empathy for him, compels us to ask the very question his therapist. Dr. Melfi, poses to herself: Are we being conned by a sociopath?" [Expanded Academic Index]
- De Stefano, George.
- "The Sopranos rewrites the genre." In: An offer we can't refuse : the Mafia in the mind of America / George De Stefano. 1st ed. New York : Faber and Faber, 2006.
Main Stack HV6446.D43 2006
PFA HV6446.D43 2006
- De Stefano, George.
- "Ungood Fellas." (the Mafia and Italian-American - as seen in popular entertainment) The Nation Feb 7, 2000 v270 i5 p31 (2029 words) UC users only
- Domini, John
- "Dinosaur in the train station: four years of the Sopranos phenomenon." (Critical Essay) . The North American Review March-April 2003 v288 i2 p38(6) UC users only
- Fields, Ingrid Walker
- "Family values and feudal codes: the social politics of America's twenty-first century gangster." Journal of Popular Culture May 2004 v37 i4 p611(23) (9593 words)
UC users only
- Franklin, Nancy
- "Shock Treatment." ('The Sopranos')(Television Program Review)The New Yorker Dec 16, 2002 v78 i39 p095UC users only
- Hendin, Josephine Gattuso.
- "Tony and Meadow: The Sopranos as Father-Daughter Drama." Lit: Literature Interpretation Theory. 14 (1): 63-67. 2003 Jan-Mar.
- "The Sopranos opens up the injuries of class differences within a stratified Italian American world. Tony Soprano and Meadow Soprano share a father-daughter relationship that serves as a baseline for measuring the Italian American codes of family solidarity, silence, and sacrifice. The relationship between them is actually a competition between the opposing needs and interests of two strong- willed persons." [Expanded Academic Index]
- Jaramillo, Deborah L.
- "The Family Racket: AOL Time Warner, Hbo, The Sopranos, and the Construction of a Quality Brand." Journal of Communication Inquiry 2002 26(1): 59-75.
- "Examines Home Box Office's (HBO) The Sopranos during 1999-2001 in the context of several industrial factors, beginning with the series' generic inscription. As a gangster program, The Sopranos came in the form of a pedigreed presold product, a television text of esteemed cinematic lineage. This leads to the examination of branding. In order to corral The Sopranos into the slogan "It's Not TV, It's HBO," HBO sought to differentiate its product from the lowest common denominator of broadcast fare. The separation resulted in the construction of the "quality" brand, a problematic concept academics linked to demographics. HBO's branding strategy also intensified the claim of competition between pay cable and broadcast television in popular discourse. This claim was undermined by the ratings-gathering methodology of A. C. Nielsen and by AOL Time Warner's tiering strategies. An examination of the aforementioned strategies uncovers the materialist - rather than auteurist - foundations of The Sopranos." [America: History and Life]
- Keeton, P.
- "The Sopranos and genre transformation: ideological negotiation in the gangster film."
New Jersey Journal of Communication, vol. 10, no. 2, pp. 131-148, Fall 2002
- "The Sopranos is a major reworking of the gangster genre, which conceals and exposes capitalist contradictions in reexamining the cultural myths on which the genre is based. Although The Sopranos incorporates many elements of the traditional gangster genre, it also transforms that genre in response to major social changes occurring in American society in the late 1980s and 1990s: pervasive corporate corruption and political scandal, loss of faith in national business and political leaders, widening income gap between the wealthiest and poorest Americans, decline in the patriarchal authority of the father, growing concern about childhood abuse and dysfunction in the family, reliance on drugs and psychotherapy to treat deviant social behavior, and increase and normalization of violence in society. This article argues that an ideological negotiation occurs in The Sopranos between the new social and political realities of American work and family life that are represented in the series and the traditional conventions of the gangster genre and the family melodrama. This interaction gives rise to alternative and contradictory readings of the narrative." [Communication Abstracts]
- Leebron, Elizabeth J.; Dominique G. Ruggieri.
- "How TV portrays Jewish and Italian-American women." Television Quarterly Spring-Summer 2004 v34 i3-4 p34-41
- "Television has the power to influence the audience and the potential to shape opinions and distort reality. It is said that the TV has weakened the image of the Italian-American and Jewish women by portraying them as ethnic female characters linked with various positive and negative traits damaging stereotypes." [Expanded Academic Index]
- Little, William G.
- The waste fix : seizures of the sacred from Upton Sinclair to the Sopranos New York: Routledge, 2002.
MAIN: PS374.W36 L58 2002
- Mattessi, Peter Mattessi
- "The strong, silent type: psychoanalysis in The Sopranos." (TV: views from the couch)
Metro Magazine Fall 2003 i138 p136(3) (1337 words)
UC users only
- McCarty, John
- Bullets over Hollywood : the American gangster picture from the silents to The Sopranos Cambridge, MA : Da Capo Press, 2004. MAIN: PN1995.9.G3 M34 2004 Moffitt: PN1995.9.G3 M34 2004 PFA : PN1995.9.G3 M47 2004
- Nochimson, Martha P.
- "The Sopranos." In: Mob culture : hidden histories of the American gangster film / edited by Lee Grieveson, Esther Sonnet, and Peter Stanfield. New Brunswick, N.J. : Rutgers University Press, c2005.
Main Stack PN1995.9.G3.M63 2005
- Nochimson, Martha P.
- "Tony's Options: The Sopranos and the Televisuality of the Gangster Genre." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 29: (no pagination). 2003 Nov-Dec.UC users only
- Nochimson, Martha P.
- "Waddaya Lookin' At? Re-Reading the Gangster Genre Through 'The Sopranos'." Film Quarterly. 56(2):2-13. 2002-2003 Winter
UC users only
- The Sopranos, which is considered as media's hyper masculine series is discussed. The pleasures of action, violence, macho aggressiveness and vulnerabilities are highlighted.
- Orban, Clara.
- "Stereotyping in The Sopranos." VIA: Voices in Italian Americana. 12 (1): 35-56. 2001 Spring.
- Quinn, Roseanne Giannini
- "Mothers, molls, and misogynists: resisting Italian American womanhood in The Sopranos."
Journal of American Culture June 2004 v27 i2 p166(9) (5922 words)
UC users only
- Reading the Sopranos : hit TV from HBO
- Edited by David Lavery.
London ; New York : I.B. Tauris ; New York : Distributed in the United States and Canada by Palgrave Macmillan, 2006.
Main Stack PN1992.77.S66.R43 2006
- Schroth, Raymond A.
- "Sopranos." (Television program about Mob family raises questions about stereotypes)(Critical Essay) National Catholic Reporter June 29, 2001 v37 i33 p19 UC users only
- Simon, David
- Tony Soprano's America : the criminal side of the American dream Boulder, Colo. : Westview Press, 2002.
MAIN: HN59.2 .S576 2002
- The Sopranos and philosophy : I kill therefore I am
- Edited by Richard Greene and Peter Vernezze.
Chicago : Open Court, c2004.
MAIN: PN1992.77.S66 S67 2004; View current status of this item
Table of contents http://www.loc.gov/catdir/toc/ecip0414/2004002571.html
- This thing of ours : investigating The Sopranos
- Edited by David Lavery. New York : Columbia University Press ; London : Wallflower, 2002. Moffitt PN1992.77.S66.T49 2002
- Wynn, Neil A.
- "Counselling The Mafia: The Sopranos." Journal of American Studies [Great Britain]
- "Reviews nine books published during 2000-02 on the Home Box Office television series The Sopranos. The reviewer surveys diverse topics related to the show, including the portrayal of psychotherapy, aspects of Italian American culture such as food and gender relations, the complex relationship the program has with the history of filmic representations of Italian American gangsters, and Italian American viewers' ambivalent reception of the show." [America: History and Life]
- "Why the Sopranos Sing: Nothing else on TV can touch HBO's Mob hit--and that's got the network suits watching their backs. Will 'The Sopranos' change the face of television?" (Arts & Entertainment) Newsweek April 2, 2001 p48
- UC users only
- Willis, Ellen.
- "Our Mobsters, Ourselves : Why The Sopranos is therapeutic TV." (Review) The Nation April 2, 2001 v272 i13 p26UC users only
- Wynn, Neil A.
- "Counselling the Mafia: The Sopranos." Journal of American Studies. 38 (1): 127-32. 2004 Apr
- Yacowar, Maurice.
- "The Sopranos and the American Dream." (Critical Essay).
Queen's Quarterly 112.3 (Fall 2005): p382(12). (2764 words)
UC users only
- Yacowar, Maurice.
- The Sopranos on the couch : analyzing television's greatest series New York : Continuum, 2003.
MAIN: PN1992.77.S66 Y33 2003
True Romance
- Alleva, Richard.
- "True Romance."Commonweal v120, n18 (Oct 22, 1993):22 (3 pages).
- Corliss, Richard.
- "True Romance." (movie reviews) Time v142, n11 (Sept 13, 1993):78 (2 pages).
- Denby, David.
- "True Romance." (movie reviews)New York v26, n37 (Sept 20, 1993):65 (1 page).
- Francke, Lizzie.
- "True Romance." (movie reviews) Sight and Sound v3, n11 (Nov, 1993):56 (1 page).
- James, Caryn.
- "True Romance." (movie reviews) New York Times v143, sec2 (Sun, Sept 19, 1993):H15(N), H15(L), col 1, 18 col in.
- Klady, Leonard.
- "True Romance." (movie reviews)Variety v352, n4 (Sept 6, 1993):27 (1 page).
- Maslin, Janet.
- "True Romance." (movie reviews) New York Times v142 (Fri, Sept 10, 1993):B7(N), C5(L), col 1, 19 col in.
- Pawelczak, Andy.
- "True Romance." (movie reviews) Films in Review v44, n11-12 (Nov-Dec, 1993):416 (3 pages).
- Romeny, Jonathan.
- "True Romance." (movie reviews)New Statesman & Society v6, n275 (Oct 22, 1993):33 (2 pages).
The Untouchables
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Violent Cop
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Serial Killers in the Movies
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Horror film bibliography (for writing about slasher films)
Bibliography on
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Alfred Hitchcock's Psycho (separate page)
American Psycho
Silence of the Lambs (separate page)
Se7en
- The American nightmare [videorecording]
- Knife-weilding murderers, buxom teens fleeing for their lives, the undead limping across streets. These images are synonymous with horror movies. Go behind-the-scenes with filmmaker greats as they reveal their inspirations for some of the most disturbingly gruesome films that have emerged on screen. Includes excerpts from classic horror films. DVD 2417
- Blennerhassett, Richard
- "The serial killer in film: An archetype for our time."
Irish Journal of Psychological Medicine. Vol 10(2), Jun 1993, pp. 101-104
- "Presents a Jungian perspective on the cinematic portrayal of the evolution of the serial killer, focusing on mythic aspects of the serial killer and representation of the archetype of the shadow. Films discussed include F. Lang's "M," A. Hitchcock's "Psycho," and J. Demme's "The Silence of the Lambs." It is suggested that the popularity of the serial killer genre reflects the need of the individual to find new images for the old concepts of good and evil."
- Cettl, Robert
- Serial killer cinema : an analytical filmography with an introduction
Jefferson, N.C. : McFarland & Co., c2003.
MAIN: PN1995.9.S297 C48 2003
- Conrath, Robert
- "The Guys Who Shoot to Thrill: Serial Killers and the American Popular Unconscious." Revue Francaise d'Etudes Americaines, vol. 16, no. 60, pp. 143-52, May 1994.
- Dyer, Richard.
- "Kill and kill again. (portrayal of serial killers in film and television)." Sight and Sound 7.n9 (Sept 1997): 14(4).
- 'Millennium' by Chris Carter is one of the most recent television releases on serial killers. Motion pictures have consistently portrayed the serial killer in films such as 'M', 'The Silence of the Lambs' and 'Psycho'. More recent releases have focused on the identification of the pattern in serial killing, notably 'Se7en' and 'Copycat'. The role of women in the serial killer movie is discussed, along with the portrayal of police detection.
- Also in:
- Action/spectacle cinema : a Sight and sound reader London : British Film Institute, 2000.
MAIN: PN1995 .A259 2000
- 'Millennium' by Chris Carter is one of the most recent television releases on serial killers. Motion pictures have consistently portrayed the serial killer in films such as 'M', 'The Silence of the Lambs' and 'Psycho'. More recent releases have focused on the identification of the pattern in serial killing, notably 'Se7en' and 'Copycat'. The role of women in the serial killer movie is discussed, along with the portrayal of police detection.
- Fleck, Patrice
- "Looking in the Wrong Direction: Displacement and Literacy in the Hollywood Serial Killer Drama."
Post Script: Essays in Film and the Humanities, vol. 16, no. 2, pp. 35-43, Winter 1997.
- The US 'serial killer' films of the 1990's are seen as a response to political conservatism and related solutions proposed for the crime problem; dwells on Se7en and The silence of the lambs.
- Freccero, Carla
- "Serial killers and the question of representation." In: Popular culture : an introduction New York : New York University Press, c1999.
Moffitt E169.12.F717 1999
- Gates, Philippa.
- "Manhunting: the female detective in the serial killer film." Post Script 24.1 (Fall 2004): 42(20).
UC users only
- Goldberg, Carl, and Virginia Crespo.
- "A psychological examination of serial killer cinema: The case of copycat." Post Script 22.2 (Wntr-Spring 2003): 55(9).