Proefschrift Universiteit van Amsterdam. / Met lit. opg. - Met samenvatting in het Engels.

Zugl.: Köln, Univ., Univ., Diss., 2006

Zugl.: Tallahassee, Florida State University, Diss. / Hergestellt on demand

Thesis (doctoral)--Universität, Hamburg.

Made available in DSpace on 2016-06-02T12:45:33Z (GMT). No. of bitstreams: 1 000478532-Texto+Completo-0.pdf: 3392115 bytes, checksum: 1289d67e0c42e45054b7ffb9ae14810e (MD5) Previous issue date: 2016 / Both inside and outside Hollywood, the mafia, an Italian criminal organization, has become the theme of one of the so-called gangster movies‟ subgenres, attracting the interest not only of the public, but of film scholars. Despite the vast literature on the subject, there are still few works available in the Portuguese language. Moreover, it is evident the lack of studies that not only focus on a specific film or moment, but also analyze how the movies depict the mythological features associated to the Mafia and the mobster character over a broader historical period. This study addresses that issue by taking into account the extensive range of movies produced since the premiere of the earliest film on the subject in 1906. The aim is to analyze how the movies explore the Italian mafia myth and how it emerges on the screen to become a cultural industry phenomenon. To that end, films made worldwide since the release of the first gangster movie were examined. The research identified 204 titles – 142 by European filmmakers and 62 by American film studios. Considered by scholars as the main responsible for creating and perpetuating the myth of the Italian criminal organization, despite the reduced number of films, Hollywood stands outs in this scenery due to the relevance of its productions in the subgenre‟s history. From this perspective, this study will examine the works The black hand (1906), Little Caesar (1931), Black hand (1950).The godfather trilogy (1972, 1974 and 1990), Goodfellas (1990), Donnie Brasco (1997), and Find me guilty (2006). As a theoretical and methodological reference and a line of analysis, the study adopts the works of Douglas Kellner and Fredric Jameson, for their concern in approaching the movies as a cultural product impregnated with meanings in its historicity. Edgar Morin and Roland Barthes provided the basis for performing the mythological narrative. With regards to the gangster genre, the study relies in particular on the works of Thomas Schatz, Giorgio Bertellini, Larry Lagman, and Nicole Rafter. As to the mafia depiction in movies, it utilizes studies coordinated by Dana Renga and Lee Grieveson, as well as Peter Biskind, George S. Larke-Walsh, and Vincenzo Maggitti. The film analysis prioritizes the dynamics of the social relations in their relation with the movies, the universe of meanings, motivations, beliefs, values, and attitudes. The conclusion is that, though by different reasons in each social-historical moment, the Hollywood industry has forged the mafia myth in movies, and the films on the subject have exercised a great fascination on the audience, creating empathy with the fascinating figure of the mafia boss and then keeping the subject alive in the viewers‟ imaginary. / Dentro e fora de Hollywood, a máfia, organização criminosa italiana, se tornou tema de um dos subgêneros dos chamados filmes de gângster, despertando interesse do público, mas também de estudiosos do cinema. O repertório a respeito é vasto, mas ainda são raras as obras em língua portuguesa. Além disso, verifica-se a falta de literatura que não fique apenas em um filme ou momento e analise de que forma o cinema retrata as características mitológicas associadas à máfia e ao personagem mafioso durante um período histórico mais amplo. A presente dissertação ataca esse problema, ao levar em consideração o universo de filmes produzidos desde a estreia da primeira película sobre o tema, em 1906, até os dias de hoje. O objetivo é analisar a forma como o cinema trabalha o mito da máfia italiana, de que maneira este se sobressai na tela, para tornar-se um fenômeno da indústria cultural. Considerou-se o repertório fílmico mundial desde o surgimento do primeiro filme de máfia. A investigação levantou a existência de 204 filmes, oriundos das indústrias cinematográficas dos Estados Unidos e da Europa: 142 foram produzidos por cineastas europeus e 62, pelos estúdios norte-americanos. Hollywood, apontada por pesquisadores como a grande responsável por criar e perpetuar o mito da organização criminosa italiana, apesar do menor número de títulos, destaca-se, nessa paisagem, pela saliência de suas produções na história do subgênero. Baseando-se nisso, decidiu-se pela análise das obras The black hand (The black hand, 1906), Alma no lodo (Little Caesar, 1931), A mão negra (Black Hand, 1950), a trilogia O poderoso chefão (The godfather, 1972, 1974 e 1990),Os bons companheiros (Goodfellas, 1990), Donnie Brasco (Donnie Brasco, 1997) e Sob suspeita (Find me guilty, 2006). A pesquisa toma como referencial teórico-metodológico e linha de análise as obras de Douglas Kellner e Fredric Jameson, por se preocuparem em estudar o cinema como produto cultural carregado de significados em sua historicidade. Edgar Morin e Roland Barthes serviram para fazer a análise da narrativa mitológica. Sobre o gênero gângster, o estudo tem como base, em especial, as obras de Thomas Schatz, Giorgio Bertellini, Larry Lagman e Nicole Rafter. Quanto à retratação da máfia no cinema, a pesquisa reporta-se a estudos coordenados por Dana Renga e Lee Grieveson, assim como em Peter Biskind, George S. Larke-Walsh e Vincenzo Maggitti. O exame dos materiais privilegia a dinâmica das relações sociais em sua relação com o cinema, universo de significados, motivos, aspirações, crenças, valores e atitudes. A conclusão do trabalho é que, embora por diferentes razões em cada momento sócio-histórico, a indústria de Hollywood forjou o mito da máfia no cinema e as películas sobre o tema exerceram uma forte atração sobre o público, criando empatia com a figura fascinante do mafioso e, assim, mantendo o tema vivo no imaginário dos espectadores.

Submitted by Helena Bejio (helena.bejio@unioeste.br) on 2017-11-15T23:48:40Z No. of bitstreams: 2 Pedro H Miranda 2017.pdf: 2130865 bytes, checksum: 904009f6874f412f71194e971bdaaf9e (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-11-15T23:48:40Z (GMT). No. of bitstreams: 2 Pedro H Miranda 2017.pdf: 2130865 bytes, checksum: 904009f6874f412f71194e971bdaaf9e (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-03-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The main purpose of this work is to analyse the way hollywood film industry builds representations on violence against women in their productions from the end of 20th century to beginning of 21st century. Therefore, our study focus on the relation between cinema and representation, it means that we tried to reflect about the representational nature of cinema. For this purpose, initially we guided ourselves mostly in Roger Chartier’s perspective that points to representation as the product resulting from the practice.The full-length films are inserted in the esthetic configurations of the New Hollywood post 1975, with narratives that run from the late 1980s through the mid-2000s. In these productions, violence against women takes place in different spaces, both in the private and in the public environment, being commited mainly by marital partners, strangers and co- workers. The feature films also present the physical, psychological and sexual violence marks in the daily life of these women who seek ways to end up these abusive relationships. The presented films belong to Stalker Movies and Courtroom Movies, two different Hollywood film styles. Stalker Movies are characterized by having the victims persecution in their stories, while the Courtroom Movies approach narratives related to the United States judicial system. Four sources were chosen for the analysis intention: The Accused – 1988, Sleeping with the Enemy – 1991, Enough – 2002 and North Country – 2005. / O propósito do presente trabalho é analisar o modo como o cinema hollywoodiano constrói representações sobre violência contra as mulheres em suas produções fílmicas no final do século XX e começo do século XXI. Sendo assim, o nosso estudo tem o seu foco na relação entre o cinema e representação, ou seja, buscamos refletir sobre a natureza representacional do cinema. Para tanto, inicialmente, nos pautamos na perspectiva de Roger Chartier ao apontar que a representação é o produto resultante de uma prática. Os longas-metragens escolhidos para análise estão inseridos na configuração estética da Nova Hollywood pós 1975, com suas narrativas que decorrem do final da década de 1980 até meados dos anos 2000. Nessas películas, a violência contra as mulheres acontece em diferentes espaços, tanto no meio privado como no público, sendo perpetrada principalmente por companheiros matrimoniais, estranhos e colegas de trabalho. Os longas-metragens apresentam, ainda, as marcas da violência física, psicológica e sexual no cotidiano dessas mulheres que procuram meios para tentar pôr um fim a essas relações abusivas. Os filmes pertencem a dois estilos cinematográficos de Hollywood: os Stalker Movies e os Courtroom Movies. Este primeiro estilo é caracterizado por ter como temática a perseguição de vítimas em suas histórias, enquanto, o segundo, são produções que abordam narrativas relacionadas ao sistema judiciário dos Estados Unidos. São quatro as fontes escolhidas para a análise do trabalho, sendo elas: Os Acusados (The Accused – 1988), Dormindo com o Inimigo (Sleeping with the Enemy – 1991), Nunca Mais (Enough – 2002) e Terra Fria (North Country – 2005).

Focusing on classic Hollywood, I contend that overly narrow concepts of both “sport” and “sport(s) film” have contributed to the scholarly neglect of key texts and characters from this period. Just as a wider analysis of the history of women’s athletic participation has expanded definitions of “sport,” scholars need to consider examples that complicate conventional understandings of sport films. This dissertation focuses on the female athletic performances during the studio era that -- precisely because they deviate from traditional conceptions of sport -- open up space for a range of meanings and identities around issues of gender and sexuality. I look specifically at Olympic skater Sonja Henie’s nine skating musicals with 20th Century-Fox, Esther Williams’s sixteen MGM swimming vehicles, and the 1944 filmic adaptation of Enid Bagnold’s novel National Velvet starring Elizabeth Taylor. This project is in conversation with longstanding debates, particularly in film studies, about the fraught visibility granted to women’s bodies on screen, issues of embodiment and disembodiment, and questions about identification and alienation of real and imagined spectators. The physicality of these studio era protagonists raises issues about the materiality of bodies and embodied subjectivity, even when a corporeal realism that focuses closely on bodily exertion, and the potential consequences of intense physical activity including pain and injury, is denied. This project, then, identifies the specific threats -- as stars and characters – that these women’s active bodies posed and describes how the studios defused and obscured their corporeal and ideological transgressive potential. And yet, in acknowledging and analyzing how and why these studio era female stars are “not there as themselves,” and in foregrounding the consistent disavowal of female strength and athleticism, I suggest that there are critical moments where that power is dramatically and corporeally present, and aesthetically critical.

This research investigates contemporary conceptual understandings of Hollywood and Community, seeking to understand how the two, independently and in relation to each other, are made real for the participants ("insiders") engaged in the American film and television industry. The ethnographic field research was conducted over a period of eighteen consecutive months and supplemented by return visits over three of the years that followed. Data collection took place in locations where "Hollywood" was performed, primarily in Los Angeles, California, but also in the State of Utah and Cannes, France. I used anthropological methods, such as interviews and participant-observation, as well as what I term a "working methodology" that required working in a variety of short-term jobs as a means to access the population of study. This working methodology provided unique insight into the critical element of positionality in Hollywood and situated me as an "insider" at times in my own research. This exploratory research concentrates on "locating" Hollywood in a discussion that seeks to capture the invisible complexity of a map that is both literal and imagined: a "place" made up of social and economic networks, marked spaces, and historical connections to a literal landscape. The research suggests that Hollywood is perceived to be a community and, that community membership is defined by work and co-constructed through a dynamic of insider/outsider interaction. An individual's relationship to, and perception of, the Hollywood community is heavily influenced by her position as well by discursive tropes of Hollywood recognized by "insiders". The presentation of data is organized around examples that index Hollywood, in particular for "insiders": Hollywood-speak, time as it is perceived in the setting of Hollywood, and the material culture that is locally called "S.W.A.G.". The idea of Hollywood -- whether as an industry, an institution, or a myth -- has proven its staying-power over time, so too has the idea of Community. Both may prove to be intangible with the specifics up for debate among scholars, but both can also be expected to remain in public discourse and popular imagination for a long time to come.

The first study to examine the status of plot in the modernist novel and the integral role that commercial narrative film played in shaping it, Missing Story reads the modernist novel in conjunction with the evolution of cinematic narrative. It argues that an exemplary subset of modern novelists detected in narrative cinema of the early twentieth century an attempt to co-opt realist storytelling, and to ignore the social, political, economic, and philosophical reasons why modernist authors sought to displace realism. Plot has been considered anathema to a modernist narrative difficulty meant to challenge the ideology of Enlightenment progress and bourgeois values for which realist plot was assumed an aesthetic proxy. Missing Story, however, reveals that far from expunging realist plot, the modernist novel attempted to recuperate it in complex ways, and that cinema’s increased reliance on realist storytelling played a hitherto un-recognized role in this aesthetic crisis. Narrative film forced modern novelists to acknowledge the affordances of realist plot—its ability, in the nineteenth-century realist tradition, to generate coherent selfhood over time, to lend narrative shape to the changing tides of history, and to secure social belonging. My project shows how the novel’s relinquishment of realist plot thus generated a surge of contradictory textual dynamics and affective intensities in modernist narrative form and its characters. Demonstrating that modernist novelists were drawn to film’s powers of storytelling rather than abstraction, my project also revises recent scholarship on modernism and the new media. Even though media histories of modernism have broadened their purview to include a diversity of mass cultural—rather than solely avant-garde—texts, they still tend to focus on the breakdown of form and the ways that modernist literature sees itself in popular culture’s fissures and lapses. Through readings of works by Nella Larsen, William Faulkner, Djuna Barnes, Tod Browning, and Max Ophuls, I argue that it was commercial film’s ability to suture stories together—not to break them apart— that generated a formal and ideological crisis in the modern novel. That crisis, I contend, resulted from an intense ambivalence toward plot, ambivalence fueled by critique and colored by longing. / 2021-11-12T00:00:00Z

I syfte att undersöka likheterna och skillnaderna mellan klassisk Hollywooddramaturgi och alternativ dramaturgi har denna uppsats utfört en innehållsanalytisk undersökning av manusen till Pirates of the Caribbean: Svarta Pärlans Förbannelse och Naked. Frågeställningarna har formulerats för att komma fram till hur aspekten mål påverkar ett manus, hur målen påverkar handlingen och vad för dramaturgi som går att urskilja via denna aspekt i de två valda manusen. Resultaten visade att protagonisterna i manusen hade likheter, främst vad gäller deras skicklighet att använda tal som ett vapen, dock i två olika syften. Måltydligheten i manusen skiljde sig, där manuset till Pirates of the Caribbean: Svarta Pärlans Förbannelse, visade på en måltydlighet som inte återfanns i Naked. Analyserna resulterade i slutsatsen att klassisk dramaturgi är svår att följa till punkt och pricka i praktiken och att manus ofta kräver ett bryt av den norm som dramaturgier utgör.