Mafia Movies

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ISBN: 9780802096654 | 0802096654
Cover: Paperback
Copyright: 4/30/2011

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Summary

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Mafia Movies encourages mafia aficionados to explore the rich variety of classics and rarities within the genre with provocative analyses of over forty films.

Acknowledgments	p. xiii
Setting the Scene
The Corleones at Home and Abroad	p. 3
Gender and Violence: Four Themes in the Everyday World of Mafia Wives	p. 32
American Mafia Movies: The Corleones at Home and Abroad
Wallace McCutchen's The Black Hand: A Different Version of a Biograph Kidnapping	p. 51
'Most Thrilling Subjects': D.W. Griffith and the Biograph Revenge Films	p. 59
Ethnicity and the Classical Gangster Film: Mervyn LeRoy's Little Caesar and Howard Hawks' Scarface	p. 68
Playing Good Italian/Bad Italian in ABC's The Untouchables	p. 76
Prelude to The Godfather: Martin Ritt's The Brotherhood	p. 85
Micheal Corleone's Tie: Francis Ford Coppola's The Godfather	p. 94
Nihilism and Mafiositá in Martin Scorsese's Mean Streets	p. 102
Thematic Patterns in Francis Ford Coppola's The Godfather: Part II	p. 111
The Sexual Politics of Loyalty in John Huston's Prizzi's Honor	p. 118
Between Postmodern Parody and Generic Hybridization: The Gangsters of Brian De Palma's The Untouchables	p. 126
The Bandit, the Gangster, and the American Army Shorts: Michael Cimino's The Sicilian	p. 134
Martin Scorsese's GoodFellas: Hybrid Storytelling between Realism and Formalism	p. 141
Redemption in Francis Ford Coppola's The Godfather: Part III	p. 149
'Nothing Romantic about It': Gender and the Legacy of Crime in Abel Ferrara's The Funeral	p. 157
Inside the Mafia: Mike Newell's Donnie Brasco	p. 165
Martin Scorsese's The Departed, Or the Quest for a Departed Ethnic Identity	p. 173
When Words Can Kill: David Chase's The Sopranos	p. 183
'Don't Stop Believin', Don't Stop …': (De)Structuring Expectations in the Final Season of The Sopranos	p. 192
Italian Mafia Movies: Myth and Resistance
Which Law Is the Father's? Gender and Generic Oscillation in Pietro Germi's In the Name of the Law	p. 203
The Visible, Unexposed: Francesco Rosi's Salvatore Giuliano	p. 211
Modernity, Mafia Style: Alberto Lattuada's Il mafioso	p. 219
Francesco Rosi's Hands Over the City: A Contemporary Perspective on the Camorra	p. 226
Prototypes of the Mafia: Luchino Visconti's The Leopard	p. 234
The Failure of the Intellectual: Elio Petri's Filming of Leonardo Sciascia's To Each His Own	p. 243
Damiano Damiani's The Day of the Owl: A Western Flirtation	p. 252
Smaller and Larger Families: Lina Wertmüller's The Seduction of Mimi	p. 261
Deconstructing the Enigma: Logical Investigations in Francesco Rosi's Lucky Luciano	p. 270
Power as Such: The Idea of the Mafia in Franceso Rosi's Illustrious Corpses	p. 279
Marco Risi's Forever Mary: Desperate Lives Converge in Sicilia 'Non Bedda'	p. 287
Threads of Political Violence in Italy's Spiderweb: Giorgio Ambrosoli's Murder in Michele Placido's A Bourgeois Hero	p. 295
Sacrifice, Sacrament, and the Body in Ricky Tognazzi's La scorta	p. 304
Pasquale Scimeca's Placido Rizzotto: A Different View of Corleone	p. 312
Marco Tullio Giordana's The Hundred Steps: The Biopic as Political Cinema	p. 320
Roberta Torre's Angela: The Mafia and the 'Woman's Film'	p. 329
Organized Crime and Unfulfilled Promises in Gabriele Salvatores' I'm Not Scared	p. 338
Growing Up Camorrista: Antonio and Andrea Frazzi's Certi bambini	p. 346
Lipstick and Chocolate: Paolo Sorrentino's The Consequences of Love	p. 354
The In(di)visibility of the Mafia, Polities, and Ethics in Bianchi and Nerazzini's The Mafia Is White	p. 363
Marco Turco's Excellent Cadavers: An Italian Tragedy	p. 371
Dispatches from Hell: Matteo Garrone's Gomorrah	p. 377
Filmography	p. 387
Selected Bibliography	p. 391
Contributors	p. 399
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Mafia Movies

Summary

Table of Contents

Supplemental Materials