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De Palma's Scarface, Cinema Spectatorship, and the Hip Hop Gangsta As Urban Superhero

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De Palma's Scarface, Cinema Spectatorship, and the Hip Hop Gangsta As Urban Superhero SAY HELLO TO MY LITTLE FRIEND: DE PALMA'S SCARFACE, CINEMA SPECTATORSHIP, AND THE HIP HOP GANGSTA AS URBAN SUPERHERO Rob Prince A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 2009 Committee: Donald McQuarie, Advisor Priscilla K. Coleman Graduate Faculty Representative Halifu Osumare Awad Ibrahim © 2009 Rob Prince All Rights Reserved iii ABSTRACT Donald McQuarie, Advisor The objective of the study is to intervene in the ongoing discourse that interrogates the relationship between fictional ultraviolent film representations and real life behavior in audiences that these types of films are marketed to. Using a case study approach to apparatus and audience reception theories, the dissertation investigates the significant role Scarface, the 1983 gangster film directed by Brian De Palma, has played in influencing the cultural and social development of young African-American males who live in American inner cities. The study focuses on how the inner city portion of the Scarface audience came to self-identify themselves as “gangstas” (a Hip-hop term for gangster) and why one particular character in the film, a murderous drug dealer, has served as the gangsta role model for heroic behavior for over twenty-five years. The study found that performing the gangsta male identity emotionally satisfies these economic and socially disconnected young men and that this group viewed the violent and illegal behavior in Scarface as offering practical solutions to their ongoing struggle to survive the hopelessness and terror rooted in their environment. The research demonstrated that film narratives can be both a window into, and a mirror of, the often paradoxically complex relationships between marginalized target audiences and savvy multi-national media corporations that successfully market negative representations to these audiences, profit from the transactions and, during the process, manipulate both mainstream and oppositional perceptions of class, race, and power. iv For my mother, who would be so proud right now. v ACKNOWLEDGMENTS There have been a great many people who have influenced my journey towards the completion of this manuscript, but none more so than Dr. Don McQuarie, my dissertation advisor. Sustained throughout by Don’s tremendous faith in this project, I am forever indebted to his unwavering support and wise counsel. Dr. Halifu Osumare was supremely influential in encouraging me to step outside of my comfort zone and take on Hip-hop as a research subject. This dissertation began as a paper in her class and I am grateful for her advice as a member of my committee. Dr. Awad Ibrahim’s suggestions were instrumental in constructing the theoretical framework around which the dissertation was crafted. Thank you, Brother Awad. I also am grateful to the Graduate College’s faculty representative, Dr. Priscilla Coleman, who became a trusted friend and staunch supporter. So many colleagues offered words of encouragement and acts of kindness, or were there to just listen when I wanted to talk about some aspect of the process. To all of you let me convey my sincere appreciation. Finally, I want to publicly acknowledge my core supporters Dr. Denis Mueller and Dave Moody. Much love, guys. It’s two down and one to go. Finally, I would not have made it without the love and support of my extended family in Toledo: Bret and Bernadette Woods, the entire Woods entourage, and the lords and ladies of The Garage. I love you all. vi TABLE OF CONTENTS Page INTRODUCTION……………. ............................................................................................ 1 CHAPTER ONE: FOUNDATIONS OF THE STUDY ........................................................ 19 CHAPTER TWO: ORIGINS OF CULTURAL CAPITAL ................................................... 49 CHAPTER THREE: THE GENEALOGY OF SCARFACINATION .................................. 82 CHAPTER FOUR: SCARFACINATION BLOWS UP ....................................................... 107 CHAPTER FIVE: SCARFACE IN CONTEXT WITH HISTORY ...................................... 155 CHAPTER SIX: BLACK MASCULINITY AND THE GANGSTA CODE ....................... 201 CHAPTER SEVEN: GANGSTA PERFORMANCE AND MEDIA ROLE PLAYING ...... 243 CHAPTER EIGHT: A “BALLS AND MY WORD” IDENTITY ....................................... 294 NOTES……………………………………………………………………………………. .. 334 BIBLIOGRAPHY…………………………………………………………………………. 389 FILMOGRAPHY…………………………………………………………………………. .. 423 APPENDIX A: SCARFACE MOVIE REVIEWS ................................................................ 434 APPENDIX B: BOX OFFICE ANALYSIS .......................................................................... 437 APPENDIX C: THE HYPERCOMMIDIFICATION OF SCARFACE 2006-2007 ............. 439 APPENDIX D: SCENE LIST AND SEQUENCE GROUPINGS ........................................ 443 APPENDIX E: HIP-HOP TESTIMONIALS ........................................................................ 446 APPENDIX F: ACKNOWLEDGMENTS OF SCREEN CAPTURES ................................ 448 vii LIST OF FIGURES Figure Page 1 Point of Entry ...................................................................................................................... 4 2 Vibe cover, April 2005.................................................................................................. 27 3 Blender cover, December 2007 ...................................................................................... 43 4 The Franchise ............................................................................................................ 44 5 Gangsta Mythology ...................................................................................................... 45 6 May the Cereal Be With You ........................................................................................ 78 7 The Eyes Have It .......................................................................................................... 83 8 Glass House………………………………………………………………. .......................... 86 9 Vice Styles………………………………………………….. .............................................. 87 10 Ocean Views…………………….. ....................................................................................... 87 11 Homage by Poster……………………….. ........................................................................... 88 12 DJ Ready Red………. .......................................................................................................... 89 13 Making Trouble….. .............................................................................................................. 97 14 Grip it! On That Other Level…... ......................................................................................... 98 15 Rapper Brad “Scarface” Jordan... ......................................................................................... 102 16 “Scarface” the Rapper ........................................................................................................... 104 17 “Scarface’s” solo albums after Mr. Scarface is Back… ....................................................... 106 18 New Jack Gangstas… ........................................................................................................... 110 19 Carlito’s Way… .................................................................................................................... 112 20 Razor Ramon….. .................................................................................................................. 113 21 Scarface1983.com… ............................................................................................................. 114 22 The Scarface World….. ........................................................................................................ 114 viii 23 Grand Theft Auto games........................................... ............................................................ 115 24 Grand Theft Auto III………………………. ........................................................................ 115 25 Grand Theft Auto: “Miami” Vice City…………………………… ..................................... 117 26 Welcome to Paradise…………………………………. ........................................................ 118 27 Old as New…………………….. .......................................................................................... 120 28 2003 Scarface Gift Set………………………. ..................................................................... 122 29 Mr. Cartoon………………………………… ....................................................................... 128 30 Fat Joe………………………. .............................................................................................. 130 31 Def Jam Presents…………………................................................... .................................... 134 32 50 Cent as Tony Montana…………………………………………………… ..................... 137 33 The Return of Crockett and Tubbs…………………………………………. ....................... 139 34 Montana Returns in Scarface Video Game……………………………………. .................. 141 35 Scarface as a Comic Book Superhero…………………………………… ........................... 144 36 “Manny” Returns………………………………… .............................................................. 145 37 American Gangster and Scarface…………………………………….. ................................ 152 38 Underworld……………………………………………… ................................................... 162 39 The Original Scarface………………………………. .........................................................
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