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Picture Manhattan in 1860, a time before the city had been dolled up and gotten ready for the silver screen, before the glamour and allure took over. Amsterdam Vallan (DiCaprio) is a young Irish man that migrates to the USA at a young age. Amsterdam’s story takes place in Five Points District of New York, a filthy and dangerous part of the city before it was deleted form history. As a young boy Vallan witnessed his father’s murder at the hand of William Cutting or Bill the Butcher (Day-Lewis) during one of their many gang wars. As Amsterdam’s story progresses along side The Butcher they become inseparable, but Amsterdam had ulterior motive. Ultimately, Amsterdam attempts to betray his new found ally in order to avenge his father’s death. Historical accounts of events are almost always synthesized by the storyteller; in the case Gangs of New York Martin Scorsese tells of Five Points, The Dead Rabbits Riots, and The Draft Riots, but is his fictional story accurate through history? "This is the place; these narrow ways diverging to the right and left, and reeking everywhere with dirt and filth... Many of these pigs live here. Do they ever wonder why their masters walk upright instead of going on all fours, and why they talk instead of grunting?" (Dickens 61) The outlandish filth described by Charles Dickens was a first hand account of the intersection of Orange Street, Cross Street, Anthony Street, and Little Water Street, better known as Five Points New York. It became the setting for many of 17th century gangs, but the most prominent were the Bowery Boys and The Dead Rabbits. This wicked part of town was known for its depravity the crimes that flooded the streets, from mugging to murder. Clearly, the slums were the place for v... ... middle of paper ... ...• Burrows, Edwin G., and Mike Wallace. Gotham: A History of New York City to 1898. New York: Oxford UP, 1999. Print. • Cocks, Jay, Steven Zaillian, and Kenneth Lonergan. "Gangs Of New York Final Script." Web. . • Dickens, Charles, and Patricia Ingham. American Notes for General Circulation. London: Penguin, 2000. Print. • Ellis, Edward Robb., and Jeanyee Wong. The Epic of New York City. New York, NY: Carroll & Graf, 2005. Print. • "RIOTING AND BLOODSHED; THE FIGHT AT COW BAY… THE CITY UNDER ARMS." The New York Times. 6 July 1857. Web. . • Sifakis, Carl. The Encyclopedia of American Crime. New York: Facts on File, 2001. Print. • Slayton, Robert A. Empire Statesman: The Rise and Redemption of Al Smith. New York: Free, 2001. Print.
The World Fair of 1933 brought promise of new hope and pride for the representation of Chicago, America. As Daniel Burnham built and protected America’s image through the pristine face of the fair, underlying corruption and social pollution concealed themselves beneath Chicago’s newly artificial perfection. Erik Larson’s The Devil in the White City meshes two vastly different stories within 19th century America and creates a symbolic narrative about the maturing of early Chicago.
The Chicago World Fair brought about through the 400th anniversary of Christopher Columbus landing in America has posed significant value and worth to the city of Chicago. Over a six-month period, more than 26 million visitors from all over the world would flock to the fairgrounds to experience the rebuilt and vibrant city of Chicago. The 600-acre fairground would have housed 200 buildings that showcased new food, art, technology, and entertainment. Chicago became known as the White City, a place of freedom, grandeur, and security. But unbeknownst to fairgoers, there was a serial killer among them. While Dr. H.H. Holmes lured his innocent victims to his “Castle”, just blocks away architect Daniel Burnham built up the dream city of Chicago. Both these men operated at the same time in history, simply blocks apart, both creating legacies that carry to this day. Burnham and Holmes are two side of the coin of human nature. In “The Devil in White City” Erik Larson’s juxtaposition of Burnham and Holmes, and the Black City and the White City, contributes to the understanding of human nature, that one cannot be good without having done evil, and that good and evil are viewed as complementary in their mutual dependence.
Gilbert Osofsky’s Harlem: The Making of a Ghetto paints a grim picture of inevitability for the once-exclusive neighborhood of Harlem, New York. Ososfky’s timeframe is set in 1890-1930 and his study is split up into three parts. His analysis is convincing in explaining the social and economic reasons why Harlem became the slum that it is widely infamous for today, but he fails to highlight many of the positive aspects of the enduring neighborhood, and the lack of political analysis in the book is troubling.
from the country’s interior. The adolescents came to compete for work in the recently industrialized world. In New York the large influx of youths produced a new adolescent subculture that promoted deviant and licentious behavior throughout the city. The book
Five Points is the setting of the movie. People live in Five Points are conditioned and trapped by the environment. One example is Bill Cutting. Because his father fought for U.S. and died for U.S., Cutting has a strong Nativism belief. The environment conditioned Bill Cutting and made him resent immigrants. As another example, being a witness of his father’s death, Amsterdam’s goal is nothing other than revenge for his father. This also trapped him into Five Points. After getting out of Hell Gate, Amsterdam can be a priest and go to a better place than Five Points. But he threw the Bible away and chose the path of revenge. A second chance is offered to him when Jenny asks him not to go to the duel and go to San Francisco with her. Agai...
Young, Greg and Meyers, Tom. “#95 Tin Pan Alley.” The Bowery Boys History of New York City. 11 Dec. 2009 New York City History: The Bowery Boys. 24 Nov. 2013
Jacob Riis’ book How the Other Half Lives is a detailed description on the poor and the destitute in the inner realms of New York City. Riis tries to portray the living conditions through the ‘eyes’ of his camera. He sneaks up on the people flashes a picture and then tells the rest of the city how the ‘other half’ is living. As shocking as the truth was without seeing such poverty and horrible conditions with their own eyes or taking in the experience with all their senses it still seemed like a million miles away or even just a fairy tale.
New Jack City, noted as ‘the crime film of the 90’s’,serves as an important episode for African-American people in America. Set in New York city, the film depicts the story of a success-driven antagonist Nino Brown (Wesley Snipes) who builds an empire powered by organized crime, drug trafficking, and Black delinquent young adults trapped in the cycle of crime. Ronald Reagan’s economic policy coupled with the popularity of crack-cocaine in the inner city creates inconsistencies and untapped markets in the poor community which Nino Brown brilliantly capitalizes on and exploits. His empire is able to successfully cut out the middle men in the drug trafficking market and centralize their operation in a single low-income housing complex inhabited
1. Kasson, F. John. “Amusing the Million: Coney Island at the Turn of the Century” New York: Hill and Wang, 1978
Noticing the influx of immigration and population boom in Manhattan at the end of the 19th century, a man named J. Clarence...
Dumenil, Lynn, ed. "New York City." The Oxford Encyclopedia of American Social History. N.p.: Oxford UP, 2012. Oxford Reference. Web. 8 Apr. 2013.
This paper will cover issues that young minorities encounter in the movies; Crips and Bloods: Made in America (2008), Gran Torino (2008), A Better Life (2011). Movies will be summarize, and compare and contrast youths experienced. Criminological theories shall be utilized to further elaborate issues. Finally steps and theories will be utilized towards solving issues, also possible methods to correct the issues will be addressed in the end.
One of the most prominent and influential directors in New Hollywood was Italian-American Martin Scorsese. His first major critical success, and what is often considered his “breakthrough” film, was 1973’s Mean Streets. This film helped to establish Scorsese’s signature style in regards to narrative and thematics as well as aesthetically. Scorsese developed a unique and distinct directorial flair to his films, with reoccurring themes, settings, cinematography, and editing techniques, among other elements. This led a number of film critics to declare Scorsese an “auteur,” similar to Jean-Luc Godard, Francois Truffaut, and other auteur directors of the French New Wave.
Martin Scorsese truly captures the film with his evocative directing where he often use slow-mo camera shots and dark, eye-wielding camera angles to capture the decay of New York City. Scorsese is in top form with his directing where he makes the camera use as a viewpoint of Bickle¡¯s character or as a third party watching Bickle¡¯s descent into paranoia and madness. Even with the film¡¯s final act whe...
Jacobs, Jane. "12-13." The Death and Life of Great American Cities. New York: Random House, 1961. N. pag. Print.