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Melodramas of Ethnicity and Masculinity: Generic View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Oregon Scholars' Bank MELODRAMAS OF ETHNICITY AND MASCULINITY: GENERIC TRANSFORMATIONS OF LATE TWENTIETH CENTURY AMERICAN FILM GANGSTERS by LARISSA ENNIS A DISSERTATION Presented to the Department of English and the Graduate School of the University of Oregon in partial fulfillment for the requirements for the degree of Doctor of Philosophy March 2012 DISSERTATION APPROVAL PAGE Student: Larissa Ennis Title: Melodramas of Ethnicity and Masculinity: Generic Transformations of Late Twentieth Century American Film Gangsters This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the Department of English by: Dr. Kathleen Karlyn Chair Dr. Michael Aronson Member Dr. Elizabeth Wheeler Member Dr. Janet Wasko Outside Member and Kimberly Andrews Espy Vice President for Research and Innovation/Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded March 2012 ii © 2012 Larissa Ennis iii DISSERTATION ABSTRACT Larissa Ennis Doctor of Philosophy Department of English March 2012 Title: Melodramas of Ethnicity and Masculinity: Generic Transformations of Late Twentieth Century American Film Gangsters The gangster film genre in America has enjoyed a long history, from the first one- reelers The Silver Wedding and The Black Hand in 1906, through a rich classical period in the 1930s, and more recently transitioning onto television in series like The Sopranos (1999-2007) and Boardwalk Empire (2010-present). The most remarkable characteristics of the gangster genre are its ethnically or racially non-white protagonist and the tendency for the gangster to experience an identity-challenging loss. Central to understanding the appeal of each iteration of the gangster is his essential victimhood, a melodramatic trope that encourages identification with the protagonist based on the careful diegetic construction of his moral virtue. This dissertation focuses on four distinct cycles of gangster film production, beginning with the genre’s revival in 1972 with The Godfather and its 1974 sequel and continuing through the gangster films of the early 1990s. I analyze approximately 30 years of American gangster films to explicate the connections between contemporary cultural politics of gender, race, and ethnicity, and the suffering gangster protagonist. A transhistorical analysis of the gangster genre reveals not only that the gangster changes in response to new or reemerging worries in the wider culture about masculinity and race, iv but that the gangster is always an ethnic or racialized character whose appeal is in some way due to his experience of loss or lack. Thus the gangster genre constitutes a melodramatic model of masculinity embedded in an American context of unjust gender and racial politics and focuses on a character whose suffering reflects men’s location in a vexed social structure. Drawing on historical analyses of American cultural politics, gender studies, a syntactic/semantic/pragmatic theory of genre informed by Rick Altman’s seminal work Film/Genre, and close readings of seven films, I relate four distinct gangster film production cycles—the revival of the genre in the early 1970s, the Blaxploitation gangster’s heyday in the early- to mid-1970s, the ‘hood gangsta film of the late 1980s and early 1990s, and the “off-white” gangster of the 1990s—to contemporary public debates about, and challenges to, American masculinity. v CURRICULUM VITAE NAME OF AUTHOR: Larissa Ennis GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon, Eugene, OR Washington State University, Pullman, WA DEGREES AWARDED: Doctor of Philosophy, English with Structured Emphasis in Film Studies, 2012, University of Oregon Master of Arts, English, 2004, University of Oregon Bachelor of Arts, English, 2001, Washington State University AREAS OF SPECIAL INTEREST: Film Studies Cultural Studies Gender and Ethnic Studies PROFESSIONAL EXPERIENCE: Graduate Teaching Fellow, Department of English, University of Oregon, 2002- 2008 GRANTS, AWARDS, AND HONORS: Teaching Excellence Award, University of Oregon Composition Program, 2008 Oregon Humanities Center Research Fellow, 2007-2008 PhD Qualifying Exam Pass with Distinction, American Literature, September 2004 Graduate Teaching Fellowship, University of Oregon. 2002-2008 Emmett Avery Essay Award, Washington State University Department of English, 2001 vi Basil and Ella Jeard Essay Award, Washington State University Department of English, 2000 Harold and Jeanne Rounds Writing Across the Curriculum Award, Washington State University Campus Writing Programs, 2000 vii ACKNOWLEDGEMENTS I would like to express sincere thanks to my dissertation committee for their support. My advisor, Kathleen Karlyn, and my committee members, Michael Aronson, Elizabeth Wheeler, and Janet Wasko, have stuck with me through a long slog and have provided vital feedback and guidance along the way. The Oregon Humanities Center supported my writing of Chapter 1 with a Graduate Research Fellowship in the spring of 2008, for which I am grateful. I could not have persevered through the crests and troughs of the dissertation sea without the support of a few key players. Tamara Holloway gives me the gift of her friendship; she has been my constant in this process, my go-to and my commiserator. In return she has allowed me to be her support, and I wouldn’t have it any other way. Heather Huhtanen models both the act of speaking truth to power and the grace of humble humanity, even from a great distance. Elizabeth Moore has been there for me since the dissertation was but a twinkle in my eye, and her willingness to talk—or not talk—about this process has been tremendously supportive. Lindsay Frederick Braun has become my companion and cheerleader in the final (and most productive) two years of this project, and for his support I am deeply and forever grateful. My dear greyhound companion, Coldwater Cordel, passed on to the Rainbow Bridge just months before the completion of the dissertation. While I am sad that he won’t be here to celebrate with me, I am grateful for the love he gave and which supported me through some of the most difficult times in this process. Above all I would like to acknowledge my siblings as my source of strength. In the end this project became an act of love for myself, but there is no me without them; viii they are a part of me wherever I go and whatever I do. Rhett Jackson, Kurt Erich, Frank Alexander, Wendy Nadine, and Roy Herbert, Jr.: I dedicate this work to you. ix For the Ennis Sibs x TABLE OF CONTENTS Chapter Page I. INTRODUCTION: THE MELODRAMATIC TRADITION OF THE AMERICAN GANGSTER FILM ............................................................................................................. 1 Critical Definitions I: Genre and the Gangster Genre .................................................... 4 Critical Definitions II: Melodrama ............................................................................... 10 Critical Definitions III: Race and Ethnicity .................................................................. 11 Gangster Genre History and Scholarship ...................................................................... 13 Warshow’s Critical Legacy........................................................................................... 19 Politicized Gangster Genre Studies .............................................................................. 27 II. PATERNAL MELODRAMA: THE GODFATHER SAGA ........................................ 42 Historical Context ......................................................................................................... 46 Critical Analyses ........................................................................................................... 52 Auteurist Criticism .................................................................................................... 53 Formal and Ideological Approaches ......................................................................... 57 Ethnicity .................................................................................................................... 59 “A Man Who Doesn’t Spend Time with His Family Can Never Be a Real Man”: The Godfather ....................................................................................................... 64 Synopsis .................................................................................................................... 64 Home ......................................................................................................................... 64 Homeland .................................................................................................................. 74 Loss, Revenge ........................................................................................................... 79 “You Broke My Heart”: The Godfather Part II ............................................................ 85 Synopsis .................................................................................................................... 87 The Two Godfathers ................................................................................................. 88 Conclusion .................................................................................................................. 101 III. A VICTIM OF GHETTO DEMANDS: BLAXPLOITATION
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