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Impact of TV shows and movies on society
Impact of TV shows and movies on society
Cinema and society
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Films have proven to have significant impact on the ways in which we perceive or make sense of the society in which we live in. In an increasingly post-literate society, where aliteracy is becoming commonplace, there is no doubt that film is considered to be a major medium in the ways in which people inform and educate themselves. The use of film as a tool to understand history is becoming a popular approach and is a much-debated topic among historians who question the legitimacy of using films as a historical source. This essay will argue that film can be used effectively as a historical source in relation to studying ideas about gangsters. This will be demonstrated through examining the representations of gangsters in films and will also attempt to address to what extent these portrayals of gangsters can be considered accurate or realistic. Finally, this paper will conclude with a discussion on the inherent challenges and opportunities, which prevail when using film as a historical tool.
Gangsters are integral parts of history and have emerged as iconic figures of the industrial twentieth century and represent a culture of mobility, urban space, access and individual life. The gangster is also regarded as an anti-social figure as he is the focus for liberation from hierarchy and the past that society and ideology wish to repress. Therefore we can see that the film gangster represents a seminal figure in the history of twentieth-century culture and forms the focus for a range of tensions that have dominated the discourses of industrialized society. Gangsters are prominent characters in popular culture such as the genre of film with movies that often feature the glorification of their criminal actions and lawlessness often in ...
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...ocess of examining films should also involve the process of the careful selection of evidence and weighing of value.
In conclusion, film can portray the general ideas and attitudes towards gangsters at the time and can act as a good representation. Film can serve as a good reflection of the period in which they were made. Hence, as historians, we need to extricate the historical value from films and distinguish these facts with other historical evidence. Good films such as D.W. Griffith’s Musketeers of Pig Alley can make valuable contributions to our historical understanding. However, merely watching a film is not enough and it is up to us to develop from these general ideas about gangsters and use other historical documents from the time in which these events occurred and use primary sources such as print media to construct an accurate understanding of gangsters.
As the 1920’s came to a close and America was in the midst of the Great Depression, a new genre of film was becoming popular. With 1928’s Lights of New York the “gangster” film genre as we know it today was born. Little Caesar and The Public Enemy (1931) were also highly influential and set the scene for the modern gangster film. The culmination of the gangster genre came about a year later. Howard Hawks’ Scarface (1932), is one of the boldest and most political gangster films ever made. Many changes were made by industry censor boards due to the diabolical nature of the film. Most notably, all scenes that contained shots of blood were removed and a subtitle was tacked onto the film denoting it as Scarface: The Shame of the Nation. Considered
In the article “The Thematic Paradigm” exerted from his book, A Certain Tendency of the Hollywood Cinema, Robert Ray provides a description of the two types of heroes depicted in American film: the outlaw hero and the official hero. Although the outlaw hero is more risky and lonely, he cherishes liberty and sovereignty. The official hero on the other hand, generally poses the role of an average ordinary person, claiming an image of a “civilized person.” While the outlaw hero creates an image of a rough-cut person likely to commit a crime, the official hero has a legend perception. In this essay, I will reflect on Ray’s work, along with demonstrating where I observe ideologies and themes.
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
John Singleton’s 1991 film Boyz n the Hood is a portrayal of a struggling black community in South Central, California. The film most closely follows the lives of Tre, Doughboy and his brother Ricky, all of which are young black men who are presumed to be in their senior year of high school. While the 1990’s may have been a time of economic prosperity for the masses, the underbelly of the country struggled. The film aims to carve out a place for the strife of black communities in the cinematic canon by shedding light on the urban landscape that traps its inhabitants. This exploration of the myth of upward mobility is intertwined with a multitude of issues that affected black America at the time. Through plot and symbolism, Singleton poignantly touches on all these subjects. However, I offer the criticism that he should have simply picked one or two of these issues instead of trying to cram them all into one film.
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.
[1] Within the last few decades, we have generated a great number of “historical” films reaching the American public. With these “historical” films come the question of whether or not the film portrayed history in an accurate manner; if not, why were the facts manipulated the way that they were. Unfortunately, this question is usually answered in the negative, and the audience is left with a fictional account of a factual happening, thereby giving the viewing public mixed messages concerning the issues raised within the film. Film used in this manner can be a dangerous tool in the hands of powerful people with agendas and ulterior motives.
Gangs of New York is a war-packed film directed by Martin Scorsese that takes place in New York during the Civil War. This 2002 film is about a young Irish immigrant, named Amsterdam, who returns to the Five Points to get revenge on William Cutting, a powerful gang leader who murdered his father. One scene that really sticks out within the film occurs during the draft riots that took place in New York. Although this particular scene is historically accurate, there are some parts of the scene itself that seem to have a bigger impact overall. The parts that create this impact show how important this dark period was and how violently this event played out in the real world.
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.
The gangster genre within films in America has accomplished numerous positive criticisms and constant willing audiences due to containing outstanding spectacles and mind-blowing action. The Godfather, being second on the IMDb Top 250 Movies, has set a new popular concept to life within the Mafia from their point of view. Doing so, creating a positive association. Yet within Italy, the same topic contains a complete different view. Movies such as I Cento Passi demonstrate unenthusiastic view by those whom are outside yet negatively affected by those members. Unlike American films, the gangsters are not as often viewed at the protagonist and are the main causes for the problematic events. But how different is Italian Mafia and American Mafia in cinema?
He was the “most powerful crime boss of his day” by 26, a mindless brute turned criminal mastermind (Sifakais, “Capone, Al,” The Encyclopedia, 157). The legendary Al Capone is one of the most well known mob leaders today and his legacy will continue on, but the infamous leader of the Chicago mob started off as a very different person. Before he was a businessman with the greatest empire in Chicago, he was just one more brutish bodyguard to the real masterminds (Sifakais, “Capone, Al,” The Encyclopedia, 157). Beginning with his expulsion from school and him meeting Johnny Torrio, Capone’s succession to Torrio’s throne culminated in their takeover of Big Jim Colosimo’s empire and the aftermath of an ambush during a gang war.
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 American Mafia, particularly Chicago, rose to power through its success in the illegal liquor trade during the 1920s Prohibition era. Once Prohibition ended, the Mafia began delving into other criminal ventures, examples like drug trafficking and illegal gambling, at the same time, routing themselves in labor unions and businesses such as construction and New York’s garment industry. The Mafia’s violent crimes, secret rituals and notorious characters such as Al Capone and John Gotti have fascinated the public and become a part of popular culture. Later on in the 20th century, the government implemented anti-racketeering laws to convict high-ranking mobsters and weaken the Mafia. However, it remains in business today.
The Godfather is the “dark-side of the American dream story” (Turan, pp2). The film follows the practices of a fictional Italian mafia family, the Corleone’s. Though most Americans do not condone the practices of the Italian mafia, they cannot deny that Francis Ford Coppola’s The Godfather is a cinematic masterpiece. This film gave insight to a mysterious way of life that the average person does not have knowledge of. As the audience is educated about the mafia they also are introduced to many stereotypes.
The film Gangs of New York is set in the mid-19th century when violence rises for power during this time of massive political corruption and rise in a cultural melting pot. The film easily portrays the sociological issues that took place in this period. In 1846, there was a mass of Irish immigrants that migrated into the city, which many natives distasted. Lots of the issues that rose in this city were narrated through the main protagonist’s, Amsterdam, narration to the audience. From this, the viewer can comprehend that the issues the immigrants faced are similarly accurate to the historical context behind this film like discrimination, social marginalization, and stagnant assimilation in the city.
Classic narrative cinema is what Bordwell, Staiger and Thompson (The classic Hollywood Cinema, Columbia University press 1985) 1, calls “an excessively obvious cinema”1 in which cinematic style serves to explain and not to obscure the narrative. In this way it is made up of motivated events that lead the spectator to its inevitable conclusion. It causes the spectator to have an emotional investment in this conclusion coming to pass which in turn makes the predictable the most desirable outcome. The films are structured to create an atmosphere of verisimilitude, which is to give a perception of reality. On closer inspection it they are often far from realistic in a social sense but possibly portray a realism desired by the patriarchal and family value orientated society of the time. I feel that it is often the black and white representation of good and evil that creates such an atmosphere of predic...