Notes on Inventing the Public Enemy
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Rose, T. Prophets of Rage: Rap Music & the Politics of Black Cultural
Information Services & Systems Digital Course Packs Rose, T. Prophets of Rage: Rap Music & the Politics of Black Cultural Expression. In: T.Rose, Black noise : rap music and black culture in contemporary America. Hanover, University Press of New England, 1994, pp. 99-145. 7AAYCC23 - Youth Subcultures Copyright notice This Digital Copy and any digital or printed copy supplied to or made by you under the terms of this Staff and students of King's College London are Licence are for use in connection with this Course of reminded that copyright subsists in this extract and the Study. You may retain such copies after the end of the work from which it was taken. This Digital Copy has course, but strictly for your own personal use. All copies been made under the terms of a CLA licence which (including electronic copies) shall include this Copyright allows you to: Notice and shall be destroyed and/or deleted if and when required by King's College London. access and download a copy print out a copy Except as provided for by copyright law, no further copying, storage or distribution (including by e-mail) is Please note that this material is for use permitted without the consent of the copyright holder. ONLY by students registered on the course of study as stated in the section above. All The author (which term includes artists and other visual other staff and students are only entitled to creators) has moral rights in the work and neither staff browse the material and should not nor students may cause, or permit, the distortion, mutilation or other modification of the work, or any download and/or print out a copy. -
February 4, 2020 (XL:2) Lloyd Bacon: 42ND STREET (1933, 89M) the Version of This Goldenrod Handout Sent out in Our Monday Mailing, and the One Online, Has Hot Links
February 4, 2020 (XL:2) Lloyd Bacon: 42ND STREET (1933, 89m) The version of this Goldenrod Handout sent out in our Monday mailing, and the one online, has hot links. Spelling and Style—use of italics, quotation marks or nothing at all for titles, e.g.—follows the form of the sources. DIRECTOR Lloyd Bacon WRITING Rian James and James Seymour wrote the screenplay with contributions from Whitney Bolton, based on a novel by Bradford Ropes. PRODUCER Darryl F. Zanuck CINEMATOGRAPHY Sol Polito EDITING Thomas Pratt and Frank Ware DANCE ENSEMBLE DESIGN Busby Berkeley The film was nominated for Best Picture and Best Sound at the 1934 Academy Awards. In 1998, the National Film Preservation Board entered the film into the National Film Registry. CAST Warner Baxter...Julian Marsh Bebe Daniels...Dorothy Brock George Brent...Pat Denning Knuckles (1927), She Couldn't Say No (1930), A Notorious Ruby Keeler...Peggy Sawyer Affair (1930), Moby Dick (1930), Gold Dust Gertie (1931), Guy Kibbee...Abner Dillon Manhattan Parade (1931), Fireman, Save My Child Una Merkel...Lorraine Fleming (1932), 42nd Street (1933), Mary Stevens, M.D. (1933), Ginger Rogers...Ann Lowell Footlight Parade (1933), Devil Dogs of the Air (1935), Ned Sparks...Thomas Barry Gold Diggers of 1937 (1936), San Quentin (1937), Dick Powell...Billy Lawler Espionage Agent (1939), Knute Rockne All American Allen Jenkins...Mac Elroy (1940), Action, the North Atlantic (1943), The Sullivans Edward J. Nugent...Terry (1944), You Were Meant for Me (1948), Give My Regards Robert McWade...Jones to Broadway (1948), It Happens Every Spring (1949), The George E. -
Hollywood, Urban Primitivism, and St. Louis Blues, 1929-1937
An Excursion into the Lower Depths: Hollywood, Urban Primitivism, and St. Louis Blues, 1929-1937 Peter Stanfield Cinema Journal, 41, Number 2, Winter 2002, pp. 84-108 (Article) Published by University of Texas Press DOI: 10.1353/cj.2002.0004 For additional information about this article http://muse.jhu.edu/journals/cj/summary/v041/41.2stanfield.html Access Provided by Amherst College at 09/03/11 7:59PM GMT An Excursion into the Lower Depths: Hollywood, Urban Primitivism, and St. Louis Blues, 1929–1937 by Peter Stanfield This essay considers how Hollywood presented the song St. Louis Blues in a num- ber of movies during the early to mid-1930s. It argues that the tune’s history and accumulated use in films enabled Hollywood to employ it in an increasingly com- plex manner to evoke essential questions about female sexuality, class, and race. Recent critical writing on American cinema has focused attention on the struc- tures of racial coding of gender and on the ways in which moral transgressions are routinely characterized as “black.” As Eric Lott points out in his analysis of race and film noir: “Raced metaphors in popular life are as indispensable and invisible as the colored bodies who give rise to and move in the shadows of those usages.” Lott aims to “enlarge the frame” of work conducted by Toni Morrison and Ken- neth Warren on how “racial tropes and the presence of African Americans have shaped the sense and structure of American cultural products that seem to have nothing to do with race.”1 Specifically, Lott builds on Manthia D iawara’s argument that “film is noir if it puts into play light and dark in order to exhibit a people who become ‘black’ because of their ‘shady’ moral behaviour.2 E. -
Prohibition's Proving Ground: Automobile Culture and Dry
PROHIBITION’S PROVING GROUND: AUTOMOBILE CULTURE AND DRY ENFORCEMENT ON THE TOLEDO-DETROIT-WINDSOR CORRIDOR, 1913-1933 Joseph Boggs A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2019 Committee: Michael Brooks, Advisor Rebecca Mancuso © 2019 Joseph Boggs All Rights Reserved iii ABSTRACT Michael Brooks, Advisor The rapid rise of an automobile culture in the 1910s and 20s provided ordinary North Americans greater mobility, freedom, privacy, and economic opportunity. Simultaneously, the United States and Canada witnessed a surge in “dry” sentiments and laws, culminating in the passage of the 18th Amendment and various provincial acts that precluded the outright sale of alcohol to the public. In turn, enforcement of prohibition legislation became more problematic due to society’s quick embracing of the automobile and bootleggers’ willingness to utilize cars for their illegal endeavors. By closely examining the Toledo-Detroit-Windsor corridor—a region known both for its motorcar culture and rum-running reputation—during the time period of 1913-1933, it is evident why prohibition failed in this area. Dry enforcers and government officials, frequently engaging in controversial policing tactics when confronting suspected motorists, could not overcome the distinct advantages that automobiles afforded to entrepreneurial bootleggers and the organized networks of criminals who exploited the transnational nature of the region. vi TABLE OF CONTENTS Page INTRODUCTION ................................................................................................................. 1 CHAPTER I. AUTOMOBILITY ON THE TDW CORRIDOR ............................................... 8 CHAPTER II. MOTORING TOWARDS PROHIBITION ......................................................... 29 CHAPTER III. TEST DRIVE: DRY ENFORCEMENT IN THE EARLY YEARS .................. 48 The Beginnings of Prohibition in Windsor, 1916-1919 ............................................... -
OBSCENE, INDECENT, IMMORAL, and OFFENSIVE 100+ Years Of
ch00_5212.qxd 11/24/08 10:17 AM Page iii OBSCENE, INDECENT, IMMORAL, AND OFFENSIVE 100+ Years of Censored, Banned, and Controversial Films STEPHEN TROPIANO ELIG IM HT L E DITIONS LIMELIGHT EDITIONS An Imprint of Hal Leonard Corporation New York ch00_5212.qxd 11/24/08 10:17 AM Page iv Copyright © 2009 by Stephen Tropiano All rights reserved. No part of this book may be reproduced in any form, without written permission, except by a newspaper or magazine reviewer who wishes to quote brief passages in connection with a review. Published in 2009 by Limelight Editions An Imprint of Hal Leonard Corporation 7777 West Bluemound Road Milwaukee, WI 53213 Trade Book Division Editorial Offices 19 West 21st Street, New York, NY 10010 Printed in the United States of America Book design by Publishers’ Design and Production Services, Inc. Library of Congress Cataloging-in-Publication Data is available upon request. ISBN: 978-0-87910-359-0 www.limelighteditions.com ch04_5212.qxd 11/21/08 9:19 AM Page 143 CHAPTER 4 Guns, Gangs, and Random Acts of Ultra-Violence n the silent era, the cinematic treatment of crime and criminals was a major point of contention for those who believed there was a Idirect cause-and-effect link between the depiction of murder, rape, and violence and real crimes committed by real people in the real world. They were particularly concerned about the negative effects of screen violence on impressionable youth, who were supposedly prone to imitate the bad behavior they might witness in a dark movie theatre one sunny Saturday afternoon. -
Violence and Masculinity in Hollywood War Films During World War II a Thesis Submitted To
Violence and Masculinity in Hollywood War Films During World War II A thesis submitted to: Lakehead University Faculty of Arts and Sciences Department of History In partial fulfillment of the requirements for the degree in Master of Arts Matthew Sitter Thunder Bay, Ontario July 2012 Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l'édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-84504-2 Our file Notre référence ISBN: 978-0-494-84504-2 NOTICE: AVIS: The author has granted a non- L'auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l'Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distrbute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriété du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette thèse. Ni thesis. Neither the thesis nor la thèse ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent être imprimés ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
+- Vimeo Link for ALL of Bruce Jackson's and Diane
Virtual February 9, 2021 (42:2) William A. Wellman: THE PUBLIC ENEMY (1931, 83 min) Spelling and Style—use of italics, quotation marks or nothing at all for titles, e.g.—follows the form of the sources. Cast and crew name hyperlinks connect to the individuals’ Wikipedia entries +- Vimeo link for ALL of Bruce Jackson’s and Diane Christian’s film introductions and post-film discussions in the Spring 2021 BFS Vimeo link for our introduction to The Public Enemy Zoom link for all Fall 2020 BFS Tuesday 7:00 PM post-screening discussions: Meeting ID: 925 3527 4384 Passcode: 820766 Selected for National Film Registry 1998 Directed by William A. Wellman Written by Kubec Glasmon and John Bright Produced by Darryl F. Zanuck which are 1958 Lafayette Escadrille, 1955 Blood Cinematography by Devereaux Jennings Alley, 1954 Track of the Cat, 1954 The High and the Film Editing by Edward M. McDermott Mighty, 1953 Island in the Sky, 1951 Westward the Makeup Department Perc Westmore Women, 1951 It's a Big Country, 1951 Across the Wide Missouri, 1949 Battleground, 1948 Yellow Sky, James Cagney... Tom Powers 1948 The Iron Curtain, 1947 Magic Town, 1945 Story Jean Harlow... Gwen Allen of G.I. Joe, 1945 This Man's Navy, 1944 Buffalo Bill, Edward Woods... Matt Doyle 1943 The Ox-Bow Incident, 1939 The Light That Joan Blondell... Mamie Failed, 1939 Beau Geste, 1938 Men with Wings, 1937 Donald Cook... Mike Powers Nothing Sacred, 1937 A Star Is Born, 1936 Tarzan Leslie Fenton... Nails Nathan Escapes, 1936 Small Town Girl, 1936 Robin Hood of Beryl Mercer.. -
A ADVENTURE C COMEDY Z CRIME O DOCUMENTARY D DRAMA E
MOVIES A TO Z FEBRUARY 2021 D 12 Angry Men (1957) 2/27 D Black Panthers (1968) 2/28 D Convicts 4 (1962) 2/10 a ADVENTURE z 20,000 Years in Sing Sing (1932) 2/3 D Black Patch (1957) 2/19 D The Corn is Green (1945) 2/21 m 42nd Street (1933) 2/7 D Blackboard Jungle (1955) 2/3 sD The Cossacks (1928) 2/21 c COMEDY S z Blackwell’s Island (1939) 2/3 D Countryman (1982) 2/21 –––––––––––––––––––––– ––––––––––––––––––––––– A y Blazing Saddles (1974) 2/6 u Crossfire (1947) 2/9 z CRIME u Act of Violence (1949) 2/9 y Blood on the Moon (1948) 2/19 R Crossing Delancey (1988) 2/12 S c Adam’s Rib (1949) 2/22 D Body and Soul (1947) 2/9 D Cry, the Beloved Country (1951) 2/3 o DOCUMENTARY a The Adventures of Huckleberry Finn (1939) 2/10 D Bombshell (1933) 2/21 c The Affairs of Martha (1942) 2/24 a Boom Town (1940) 2/25 P –––––––––––––––––––––– D ––––––––––––––––––––––– D DRAMA c Affectionately Yours (1941) 2/10 D Born to Be Bad (1950) 2/9 y Dances with Wolves (1990) 2/27 u After Office Hours (1935) 2/1 c Born Yesterday (1950) 2/21 D Dancing Co-Ed (1939) 2/8 e EPIC P R The Age of Innocence (1993) 2/14 c Boys’ Night Out (1962) 2/11 D Dangerously They Live (1941) 2/23 S S S w Air Force (1943) 2/23 D The Breaking Point (1950) 2/9 R Daughters Courageous (1939) 2/16 S HORROR/SCIENCE-FICTION z Al Capone (1959) 2/16 R Brief Encounter (1945) 2/12 D Days of Wine and Roses (1962) 2/28 P m sc Algie the Miner (1912) 2/7 m Brigadoon (1954) 2/18, 2/25 D Death in Venice (1971) 2/23 MUSICAL y Along The Great Divide (1951) 2/19 D Broadway Musketeers (1938) 2/6 cR Design for Living (1933) 2/21 R ROMANCE HD The Amazing Mr. -
Chapter 17 Classic Hollywood Background
Chapter 17 Classic Hollywood Objectives: The objective of this chapter is to introduce the students to the ‘golden age’ of Hollywood, the major trends and names associated with that period. Key words: Hays code, Affirmative-consequential model’, studio system, linear narrative Background In this chapter, we will take a journey through the classic Hollywood period, a time which is also termed as the “Golden Age” of Hollywood. This period is so referred to because of the extravaganzas produced at that time by major studios, starring major stars. Some of the epic blockbusters of the early period of the golden age (1915-1935) are The Birth of a Nation (1915), Cecil B. De Mille’s The Cheat (1915 ), Theda Bara’s A Fool There Was, Madame Butterfly (all in 1915) with the latter starring Mary Pickford, and several films of ‘Fatty’ Arbuckle. Charlie Chaplin is a major star of this period, signifying the beginning of a time when stars became economic assets. Lets understand the key features, events and people of this period. Production Code MPPDA (Motion Picture Producers and Distributors of America) 1922, headed by Will Hays, an ultraconservative Republican ; A Self-regulatory trade organization, formed by Hollywood producers Hays Code of 1934 became a rigid form of censorship; Hollywood's famed"golden age" began with the Code and ended with its demise. To work around the Code, filmmakers resorted making religious epics. The Ten Commandments (Paramount production, 1923), for example, was drenched in sex-and violence. This became a successful formula for religious epics, and soon other features followed suite: King of Kings (1927), Cleopatra (1934) and Samson and Delilah (1949). -
The Socio-Political Influence of Rap Music As Poetry in the Urban Community Albert D
Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 2002 The socio-political influence of rap music as poetry in the urban community Albert D. Farr Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the African American Studies Commons, American Popular Culture Commons, and the Poetry Commons Recommended Citation Farr, Albert D., "The ocs io-political influence of rap music as poetry in the urban community" (2002). Retrospective Theses and Dissertations. 182. https://lib.dr.iastate.edu/rtd/182 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. The socio-political influence of rap music as poetry in the urban community by Albert Devon Farr A thesis submitted to the graduate faculty in partial fulfillment of the requirements for the degree of MASTER OF ARTS Major: English (Literature) Program of Study Committee Jane Davis, Major Professor Shirley Basfield Dunlap Jose Amaya Iowa State University Ames, Iowa 2002 Copyright © Albert Devon Farr, 2002. All rights reserved. 11 Graduate College Iowa State University This is to certify that the master's thesis of Albert Devon Farr has met the thesis requirements of Iowa State University Signature redacted for privacy Signature redacted for privacy Signature redacted for privacy Signature redacted for privacy Ill My Dedication This Master's thesis is dedicated to my wonderful family members who have supported and influenced me in various ways: To Martha "Mama Shug" Farr, from whom I learned to pray and place my faith in God, I dedicate this to you. -
LITTLE CAESAR (1930, 80 Minutes)
January 22, 2002 (V:1) LITTLE CAESAR (1930, 80 minutes) Edward G. Robinson....Cesare Enrico "Rico" Bandello Douglas Fairbanks Jr..... Joe Massara Glenda Farrell.... Olga Strassoff William Collier Jr.....Tony Passa, Driver Sidney Blackmer ....Big Boy Ralph Ince....Diamond Pete Montana Thomas E. Jackson....Sgt. Tom Flaherty Stanley Fields....Sam Vettori, Owner Palermo Club Maurice Black....Little Arnie Lorch MERVYN LE ROY (15 October 1900, San Francisco—13 George E. Stone .... Otero September 1987, Beverly Hills, Alzheimer's disease) quit Armand Kaliz....DeVoss, Manager Bronze school at 13 to become a newsboy. “I saw life in the raw Peacock Club on the streets of San Francisco,” he said. “I met the cops Nicholas Bela....Ritz Colonna and the whores and the reporters and the bartenders and the Chinese and the fishermen and the Director Mervyn LeRoy shopkeepers. When it came time for me to make Written by.Francis Edward Faragoh, Robert N. motion pictures, I made movies that were real, because I knew first hand how real people behaved.” What does that imply about his opinion of the other filmmakers he knew? His Lee, Robert Lord, Darryl F. Zanuck, based on the first film was No Place to Go in 1927; his last was as uncredited director of John Wayne’s novel by W.R. Burnet hyperbolic The Green Berets 1968. Le Roy’s career in show business began in vaudeville, then Producer Hal B. Wallis his movie-mogul cousin Jesse Lasky hired him at Famous Player-Lasky, where he worked in Original music Erno Rapee wardrobe, then as a film tinter, and then as an actor in minor roles. -
Can't Knock the Hustle
“CAN’T KNOCK THE HUSTLE:” THE MODERNIZATION OF THE GANGSTER IMAGE IN “THE WIRE” A Thesis Submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Master of Arts in English By Scott Andrew Rossow, B.A. Washington, DC October 4, 2009 A special thanks to my thesis mentor for the dedication and help. For my Mom and Dad i i TABLE OF CONTENTS Introduction ...................................................................................................................... 1 Chapter 1: The Classic Gangster Film ............................................................................... 12 Chapter 2: The Hood Film................................................................................................. 22 Chapter 3: The Wire.......................................................................................................... 33 Conclusion........................................................................................................................ 53 Works Cited...................................................................................................................... 56 ii i Introduction Streaks of blood line the pavement. Blue lights from a police car reflect off the blood’s surface. The noise of sirens and barking dogs fill the night. The dead body of an unidentified man lies face down with a large gunshot wound in the back. A detective picks up a bullet casing in plastic gloved hands and deposits it in a tiny