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11	Inimigos públicos em Hollywood: estratégias de contenção e ruptura em dois filmes de gângster dos anos 1930-1940 / Public enemies in Hollywood: strategies of containment and rupture in two gangster films from the 1930s-1940s Elder Kôei Itikawa Tanaka 11 April 2016 (has links) O objetivo dessa tese é investigar de que maneira Little Caesar (Mervyn Leroy, 1931) e Force of Evil (Abraham Polonsky, 1947) registram, dentro do gênero gângster, questões como a Depressão na década de 1930, e o macarthismo na década de 1940, ao mesmo tempo em que estabelecem homologias estruturais entre o crime organizado e o mundo dos negócios. Tais questões surgem nesses dois filmes por força da matéria histórica envolvida nas condições de produção. Nossa tese é de que os filmes configuram, em diferentes medidas, estratégias de representação da matéria histórica apesar das tentativas de seu apagamento, como a censura e o macarthismo. / The aim of this thesis is to analyze how Little Caesar (Mervyn Leroy, 1931) and Force of Evil (Abraham Polonsky, 1947) portray, in the gangster genre, historically relevant questions such as the Great Depression in the 1930s and McCarthyism in the 1940s, while establishing structural homologies between organized crime and the business world. These themes arise in both films due to the strength of the historical substance implicated in the conditions of production. Our thesis is that these films depict, in different proportions, strategies of representation of the historical substance in spite of attempts to suppress it, such as censorship and McCarthyism. Anos 1930 Anos 1940 Censura Cinema norte-americano Filmes de gângster Macarthismo 1930s 1940s American cinema Censorship Gangster films McCarthyism
12	Cinéma et réalité de l'après-guerre : le film noir Harrouch, Victor Haim. January 1978 (has links) No description available. Motion pictures -- United States. Motion pictures -- Plots, themes, etc. Gangster films -- History and criticism
13	Martin Scorsese, Quentin Tarantino, and the Crime Films of the Nineteen Nineties Magnani, Matthew Daniel 08 1900 (has links) Martin Scorsese's films, GOODFELLAS and CASINO, and Quentin Tarantino's RESERVOIR DOGS and PULP FICTION are examined to determine if the crime film of the 1990s has become increasingly more in the style of film noir. The differences and similarities between the two crime films each director has either written or co-written in the 1990s are delineated to demonstrate this trend. Other crime films of the latter 1990s (SEVEN, THE USUAL SUSPECTS, and MULHOLLAND FALLS) are also examined to aid in defining the latest incarnation of the crime film as "Noir Modernist," a term that is demonstrated to be a more accurate description for the current crime films than B. Ruby Rich's, "Neo-Noir of the 1990s." Martin Scorsese Quentin Tarantino film noir crime films Film noir. Gangster films. Police films. Scorsese, Martin. Tarantino, Quentin.
14	Cinéma et réalité de l'après-guerre : le film noir Harrouch, Victor Haim. January 1978 (has links) No description available. Motion pictures -- United States. Motion pictures -- Plots, themes, etc. Gangster films -- History and criticism
15	Unpacking heat : women and guns in popular culture / Edwards, Marlo. O'Brien, Susie. January 1900 (has links) Thesis (Ph.D.)--McMaster University, 2005. / Advisor: Susie O'Brien. Includes bibliographical references (p. 250-262). Also available via World Wide Web.
16	Say Hello to My Little Friend: De Palma's Scarface, Cinema Spectatorship, and the Hip Hop Gangsta as Urban Superhero Prince, Rob 01 December 2009 (has links) No description available. African Americans American Studies Black History Fine Arts Mass Media Motion Pictures Social Psychology Social Structure Sociology Film studies Hip-hop Hip-hop films Scarface Brian De Palma Al Pacino Universal Studios Gangster films Films set in Miami Cocaine in films Black masculinity audience reception Gangstas African-American audience reception violence in films

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