Dreams & Dead Ends: The American Gangster Film
Dreams and Dead Ends provides a compelling history of the twentieth-century American gangster film. Beginning with Little Caesar (1930) and ending with Things To Do In Denver When You're Dead (1995), Jack Shadoian adroitly analyzes twenty notable examples of the crime film genre. Moving chronologically through nearly seven decades, this volume offers illuminating readings of a select group of the classic films - including The Public Enemy, D.O.A., Bonnie and Clyde, and The Godfather - thatbest define and represent each period in the development of the American crime film. Richly illustrated with more than seventy film stills, Dreams and Dead Ends details the evolution of the genre through insightful and precise considerations of cinematography, characterization, and narrative style. This updated edition includes new readings of three additional movies - Once Upon a Time in America, Things To Do In Denver When You're Dead, and Criss Cross - and brings this clear and lively discussion of the history of the gangster film to the end of the twentieth century.
What people are saying - Write a review
We haven't found any reviews in the usual places.
The Golden Age The Classic Gangster Film
Little Caesar 1930
The Public Enemy 1931
Dark Transformations The Descent into Noir
High Sierra 1941
The Killers 1948
The Genres Enllghtenment The Stress and Strain for Affirmation
Kiss of Death 1947
Kiss Me Deadly 1955
Contemporary Colorations The Modernist Perspective
Bonnie and Clyde 1967
Point Blank 1967
The Godfather 1972 The Godfather II 1975 and After
Toward the 21st Century Frenzies and Despairs
Once upon a Time in America 1984
Things to Do in Denver When Youre Dead 1995
Force of Evil 1948
Gun Crazy 1949
Going Gray and Going Crazy Disequilibrium and Change at Midcentary
White Heat 1949
Focus on Feeling Seeing through the Fifties
Pickup on South Street 1953
99 River Street 1953 The Phoenix City Story 1955 The Brothers Rico 1957
99 River Street action American Anna audience Bart and Laurie becomes Big Combo Bigelow Bonnie and Clyde Brothers Rico camera characters close-up Cody corruption crime film criminal Criss Cross critical dark Dead Ends Director Dreams & Dead Earle Earle's Eddie emotions evil feel fifties Film Noir film's Flaberty frame Fuller gang gangster film gangster/crime film genre genre's gives Godfather Gun Crazy Hammer hero High Sierra human Jarrett Jimmy Karlson killed Killers kind Kiss Me Deadly Kiss of Death Kubik Little Caesar live look Lubinsky means moral movie narrative never Nick Phenix City Story Pickup on South play Point Blank Public Enemy Raoul Walsh reality Reardon Rico's says scene screen seems sense sequence sexual shoots shot Skip Slim social society Steve Street style Swede takes tells things tion Velma viewer violence visual Walker Walsh wants watch White Heat
Page 4 - Meanings emerge whether deliberately or not about the nature of the society and the kind of individual it creates. By definition, the genre must shed light on either the society or the outcasts who oppose it, and by definition the gangster is outside, or anti, the legitimate social order. The gangster/crime film is therefore a way of gaining a perspective on society by creating worlds and figures that are outside it. Its basic situation holds that distinction, and the meanings it continues to produce...
Page 3 - The gangster film is a genre like pornography and the horror film, held in contempt socially and intellectually not because it may corrupt and not because it is artistically inferior to other kinds of film but because it realizes our dreams, exposes our deepest psychic urges The...