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Essay about italian stereotypes
Essay about italian stereotypes
Essay about italian stereotypes
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The Sopranos and the Perpetuated Mafiosi Image
A life of organized crime, fancy cars, machine guns, beautiful women, money, power and family; these are the images that have perpetuated the associations of Italian-Americans with the Mafia in film and television for decades. It is in this traditional Godfather fashion that the HBO hit series The Sopranos continues to perpetuate this stereotypical image into the 21st century. From classic films like The Godfather and Goodfellas, to miniseries events like Bella Mafia and The Last Don, to the dramatic series The Sopranos, Italian-Americans have traditionally been portrayed as gangsters and mobsters and have been seen living the lives of organized criminals. Italian-Americans and the Mafia have traditionally been linked in popular culture and The Sopranos is no exception.
"It's undeniable that the dominant pop-culture images of Italian-Americans have been the mobster and the related, anti-working class stereotype of the boorish gavone" (De Stefano 32). Textually, Tony Soprano is just this. He is an Italian-American, living in a suburban New Jersey town, the head of the local Mafia family. He is anything but working class, as he is continually portrayed as the mobster dealing with "business." He is involved in murders, blackmail, illegal gambling and racketeering. Inter-textually, there are frequent references to Mafia popular culture. Tony and his gang regularly recite lines from The Godfather and refer to each other as "Donnie Brasco." Tony's relationship with his therapist parallels that of the satiric Mafia film, Analyze This and comments are made to that effect. These inter-textual references draw attention to the traditional Mafia portrayals in film and television and acknowledge the existence of this stereotypical depiction of Italian-Americans in visual media. The producers of The Sopranos go as far as to include comedic extra-textual references, drawing upon the social commentary of ethnic stereotyping. When Tony's therapist and her family make a toast over dinner to the "20 million Italian-Americans" who have nothing to do with organized crime, we see here a representation of the opposition by Italian-Americans to the Mafia-stereotype. Sub-textually, the covert commentary within the series runs deep. Running between the lines are sub-plots dealing with family val...
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...hus associates people of such ethnic descent with crime and corruption. Those in opposition of the show see it as " a buffoonish caricature of (these) people" and "an ethnic minstrel show" (Showalter 42).
In line with traditional representations of Italian-Americans in visual media, the Sopranos continues a portrayal of Mafiosi and glamorized lives of crime and power. Yet, this fresh take on and old image successfully creates a window to the realistic lifestyle of a modern-day Mafia family. While this series presents a look at only a microcosm of contemporary society, it perpetuates the stereotypical association of Italian-Americans as sensationalized Mafiosi and glorifies the lifestyle of organized criminals in the 21st century.
BIBLIOGRAPHY
Auster, Albert. "The Sopranos: the gangster redux." Television Quarterly 31 : 4 (Winter, 2001): 34-8.
De Stefeno, George. "Ungood Fellas." The Nation 270 : 5 (Feb. 7, 2000) : 31-3.
Golway, Terry. "Life in the 90's." America 180 : 10 (March 27, 1999) : 6.
Showalter, Elaine. "Mob Scene." American Prospect 11 : 8 (Feb. 28, 2000) : 42-3 .
The Sopranos. Chase, David. HBO. 1999-2002.
Born on the 27th of October, 1940, to a blue collar family in the South Bronx, John Gotti was the fifth of 13 children born to Fannie and J. Joseph Gotti. The family’s income was less than consistent because of John’s father’s unpredictable work as a day laborer. After moving constantly, the family finally settled in East New York: an area notorious for its youth gang activity (“John Joseph Gotti Jr”, 2014). During his teenage years, Gotti became affiliated with the Gambino family, one of the “Five Families” that control most organized crime in New York (Jenkins). He started out as an errand boy for an underground club, where he met Aniello Dellacroce, who would eventually become his men...
Gallman, J. Matthew. "Gangs Of New York (Film)." Journal Of American History 90.3 (2003): 1124-1126. America: History and Life with Full Text. Web. 2 May 2014.
Organized crime has developed a stigma regarding its power and influence, especially during its hay day in the 1930’s. The mob has always been viewed as a powerful “family-like” organization. In Scarface, Hawkes brings the mafia into a seemingly more realistic light. By overturning Lovo’s position of power, Tony represents the idea of “every man for himself,” within a supposed organized group. The viewer steps into a cut-throat world of power hungry men, all trying to get rich quick. In this world, Hawkes asks, how can you organize men towards any goal if they all seek personal gain?
Another common theme of this wildly intoxicated era was that of the gangsters. In the twenty-first century when the word gangster is uttered, often times images of minorities in baggy clothes comes to mind. However, when discussing the Prohibition Era the lives of gangsters are seen as much more glamorous, and none were more glamorous than that of the ultimate American gangster, Al “Scarface” Capone. Capone’s name brings to mind images of pinstripe suits, underground bars, bootleggers, flappers, and gun fights. His image embodies that of the Prohibition Era and his influence throughout society carries through it. Alphonse Capone is the ultimate American gangster.
The word mob or mafia is a title that is often heard. When the name Capone is
CUMMINGS, JOHN, AND ERNEST VOLKMAN. GOOMBATA: THE IMPROBABLE RISE AND FALL OF JOHN GOTTI AND HIS GANG. BOSTON: LITTLE BROWN AND COMPANY, 1990.
People in Sicily believed that they could not trust the country’s police service, so they created their own organized protection that later evolved into the Mafia. Later on, the group engaged in organized crime and formed the Sicilian mafia. They came from Sicily to America during the mid 1800s due to bad conditions in Sicily where almost everyone was below the poverty line. Giuseppe Esposito and six other Sicilian members were the first to leave and fled to New York after they killed the chancellor and vice chancellor of Sicily. Then on the five main Sicilian mafia families were created and the majority of the mafia came to America in the early 20th century.
During the 1700's, Mafia leaders began to force their way to the head positions in the Sicilian government and used government funds for their own private endeavours. In the early 1900's, when Mussolini and the Fascists came to power, he vowed to rid the country of all the Mafia. Keeping this in mind, and the fact that there was money to be made through extortion, prostitution, gambling and bootlegging in the United States, many Mafioso's decided to come west to America. Charles "Lucky" Luciano, the eventual organizer of the New York Mafia, was born in Sicily in 1897, and came to New York. Luciano climbed the "criminal ladder" and by 1935, he was known ...
Many of the film’s important scenes begin with one key character, Don Vito Corleone and the word “Godfather…” The setting is very dark as the film opens and a man is asking for the Godfather’s help. Though the Don is not happy about the request he grants it, letting the man know that when the time comes he will have to do him a service as well. As the movie continues the audience is shown that it is a very special day; it is Connie Corleone, the Godfather’s daughter’s wedding day. This is an important factor in understanding why Corleone has granted this request, because of the tradition that “no Sicilian can refuse anyone’s request on his daughter’s wedding day.” With this line comes the insight that the family and the culture find old world tradition very important. Throughout the movie several people come to Vito Corleone asking for favors and services to be rendered.
The Mafia way of life may seem like a romantic updated version of the western movie played out on the streets of the big cities where the good guys and the wise guys who share the same instincts and values do battle before an enthralled public but it is actually very different. The Mafia is really just a group of uneducated thugs making money by victimizing the public. Initially, the Mafia was setup as a prominent supplier of bootlegged liquor, but it has spread into many different areas of crime. During this research paper I will discuss three aspects of the Mafia which are crime, structure and decline in leadership.
...sition of the Mob, and the Mafia is known for making comebacks in a hurry. For example, the highpoint of the Mafia was said to be in the 1920?s, and slowly it decreased until the end of World War II when organized crime came back with much stronger than when the war started. This shows a good understanding of what the Mafia is capable of doing in short periods of time. The men who have tried to get rid of the Mafia time in and time out have made some progress. "Responsible groups of Americans have, at times, waged campaigns in the media to obliterate any assumption that crime is dominated by people of Italian descent, claiming that existence of an American Mafia had not been fully established" (Mafia Image). The opinions will differ in that sense. Some say that the Mafia is a vast organization that continues to grow in power, while others say that if the mafia still exists to this day, the old ways of organized crime will never be the same as it has been in this century. The desire, need, brutality, wisdom, and style of what we know as the Mafia only exists in books and movies. No matter the opinion, the Mafia still claims the place in American History if it still exists or not.
For example the release of The Godfather, while considered by many to be one of the best movies of all time, also created a host of prejudice and negative stereotypes. Italian Americans gained a reputation for organized crime and were often associated by the public as mobsters. This paradox was greatly supported by the movie, The Godfather (Fordham). The success of this movie innately resulted in other films and shows that encouraged the negative stereotypes of Italian Americans in regards to the mafia and organized crime. Italian American fought these stereotypes back with media releases that romanticize Italian culture. For example, movies that involve large family dynamics that create, “deep-seated nostalgia for the ‘old neighborhood’” and enhance the appreciation for Italian culture and combat negative stereotypes
Deep down inside everyone has the same desire – to do what one wants whenever he or she chooses to and to not have to worry about anyone or anything else. Along with this desire to be able to do what ever it is that one wishes to at any given time, a person wants to be successful at what they do. The type of success that a person wants may be measured in money, property, fame, or even the entourage that follows him or her. This kind of lifestyle is only truly lived by a certain kind of people – gangsters and mobsters. For the rest it is just a dream to be able to live such a life, but for gangsters and mobsters this lifestyle is reality. But these gangsters can go around doing anything they want without the fear of consequences, which would, for most people, lead to long-term prison sentences. We are commonly shown in many movies and television shows that gangsters can just walk into an alley and beat up whoever they wish and be able to leave as if nothing ever happened. In “The Gangster as Tragic Hero” by Robert Warshow and “Our Mobsters, Ourselves: Why The Sopranos Is Therapeutic TV” written by Ellen Willis the gangster’s middleclass part of his or her lifestyle is brought out along with this “dream” reality at the same time.
Reppetto, Thomas. American Mafia A history of Its Rise to Power. Edited by John Macrae. New York, NY: Henry Holt and Company, LLC, 2004.
Mode: how: dialogue of the upper class, Gianni being both an insider and outsider, Lauretta’s disenchantment with the upper class, the OND as a place of “real” Italians. Why: to emphasize the difference between the middle and upper class in Italy