Versions of Hollywood Crime Cinema: Studies in Ford, Wilder, Coppola, Scorsese, and Others - Tapa blanda

"Carl Freedman once more proves himself the most sensitive reader of texts and the most lucid explicator of critical theory. It is a commonplace that mob movies expose the logic of capitalism, but his nuanced analysis of the Godfather trilogy in terms of Marx s concept of primitive accumulation for once actually makes the case and makes it stick. Freedman s inclusion of westerns in crime cinema merely appears idiosyncratic Edwin S. Porter s "The Great Train Robbery" was seen as a violent crime movie long before anyone called it a western and his consummate discussion of John Wayne s post-heterosexual masculinity is worth the price of admission alone." --Mark Bould, University of the West of England" "Whether discussing the 'post-heterosexuality' of John Wayne or the role of what Marx called 'primitive accumulation' in the Godfather films, Carl Freedman offers thought-provoking new insights on classic Hollywood films." --Steven Shaviro, Wayne State University

This title features highly original readings that shed new light on familiar movies. It is an unifying and largely original Marxist perspective that offers a fresh look at social relations as expressed in Hollywood cinema. It is a new construction of the category of the crime film, supported by an understanding of the importance of crime and crime cinema in cinema and society as a whole. No society is without crime, prompting Nathaniel Hawthorne's narrator to make his famous statement in "The Scarlet Letter" that, however high its hopes are, no civilization can fail to allot a portion of its soil as the site of a prison. By establishing the category of crime - by drawing a line between the lawful and criminal, however thin, blurry, or even effectively meaningless the line may in practice become - society offers its own perhaps most consequential self-definition. Film, argues Carl Freedman, is an especially fruitful medium for considering questions like these. With "Versions of Hollywood Crime Cinema", he offers a series of critical readings spanning several genres, by directors Coppola, Scorsese, Ford, Wilder. From among the mob movies, Freedman focuses on Francis Ford Coppola's "Godfather" trilogy - arguably the foremost work of crime cinema - using it to reflect on the Marxist notion of primitive accumulation and relationship between "gangsterism and capitalism". The volume also includes indepth critique of classics of film noir (including "Double Indemnity" and "Body Heat") and, surprisingly, Western, which is not often thought of as a kind of crime film even though its setting is an entire society in which crime flourishes yet is fought against, bringing into focus films of John Wayne. For crime fans and scholars alike, the radical readings of known classics in "Versions of Hollywood Crime Cinema" provide an insightful critique of modern culture and high capitalism that produced, and that are reflected in, the range of films discussed.