A Cultural Studies Analysis of Guy Ritchie's Snatch
GRIN Verlag, 2009 - 36 pages
Seminar paper from the year 2006 in the subject English Language and Literature Studies - Culture and Applied Geography, grade: 1,0, University of Passau, course: Proseminar Anglistik, language: English, comment: Note: 1,0 Cultural Analysis in Film with Focus on Gender Studies, abstract: Snatch's mix of crime and broad comedy made a significant contribution in creating a new genre in British cinema, which addresses a mainly male audience, due to its playful resurrection of the hard-man characters in contemporary times of irritated male identity. The film points out the masculine wish of emancipation from feminist conventions and the return to a distinct male self-sufficiency and is therefore relevant for contemporary gender studies.
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akademische Texte Analysis of Guy Anciano and Burdis anomy appear audience authenticity bookie boxing fight Bricktop British cinema British gangster films Bullet Tooth Tony characters in Snatch Chibnall 283 city-centre comedy criminal identity Cultural Studies Analysis director Doug’s Durkheim easy male example female characters female counterparts femininity feminist film’s filmic Final Cut function gangland gangster characters Gangster Movies Gender aspects genre getaway driver GRIN Verlag Guy Ritchie Guy Ritchie's Snatch hard-man heterosexual masculinity homosexual humorous Ibrahim A Cultural imagery irrelevance of women Layer Cake London Long Good Friday mainly depicted male characters male identity male protagonists Male Solidarity McKinnon milieu mobster moral values old-fashioned understanding organised crime Pulp Fiction Reservoir Dogs Ritchie's Snatch GRIN Ritchie’s films Ritchie’s Lock Ritchie’s Snatch role in Ritchie’s Samir Ibrahim scenes Smoking Barrels Snatch represents social soundtrack stereotyped story Tarantino’s Tommy Tyrone understanding of heterosexual underworld urban viewer Vinny and Sol violence virility