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Italian Americans and the Mythology of Crime: “The Godfather Paradox”
Italian Americans and the Mythology of Crime: “The Godfather Paradox” STEFANO MARANZANA University of Arizona Proceeding of the AATI Conference in Cagliari [Italy], June 20-25, 2018. Section Cultural Studies. AATI Online Working Papers. ISSN: 2475-5427. All rights reserved by AATI. ABSTRACT: This article examines the portrayal of Italian Americans in American media. The Order Sons of Italy in America (OSIA), the largest and longest-established national organization for men and women of Italian heritage in the USA, denounces the entertainment industry for damaging the collective reputation of Italian Americans. Particularly, the OSIA charges Coppola’s trilogy The Godfather with being “the principal agent responsible” for promulgating a discriminatory ethnic stereotype that all Italians are criminals, while accusing the series The Sopranos of having reinforced this notion. Yet, the authors of these works of fiction, both Italian Americans, maintain that exploring their own ethnic identities led them to utilize the Mafia as a metaphor for American society. We will see that, not only it is unjust to accuse a movie trilogy to be the “the principal agent responsible” for such stereotype, but I would submit that The Godfather has helped to mitigate the negative image of the Mafioso existing in American cinema long before Coppola’s films, turning it into a liminal figure conveying a positive impression formerly missing. An examination of early American gangster movie stereotyping and scholarship on Italian American studies will substantiate the claim that neither The Godfather nor The Sopranos have truly damaged the image of Italians in America. Paradoxically, the Italian-as-a-gangster stereotype has helped Italian Americans to break out of the margins. -
The Gangster Hero in the Work of Puzo, Coppola, and Rimanelli
Rewriting the Mafioso: The Gangster Hero in the Work of Puzo, Coppola, and Rimanelli Author: Marissa Sangimino Persistent link: http://hdl.handle.net/2345/bc-ir:104214 This work is posted on eScholarship@BC, Boston College University Libraries. Boston College Electronic Thesis or Dissertation, 2015 Copyright is held by the author, with all rights reserved, unless otherwise noted. ! ! ! ! ! ! ! ! Rewriting the Mafioso: The Gangster Hero in the Work of Puzo, Coppola, and Rimanelli By Marissa M. Sangimino Advisor: Prof. Carlo Rotella English Department Honors Thesis Submitted: April 9, 2015 Boston College 2015 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ACKNOWLEDGMENTS!! ! ! I!would!like!to!thank!my!advisor,!Dr.!Carlo!Rotella!for!the!many!hours!(and!many!emails)!that!it! took!to!complete!this!thesis,!as!well!as!his!kind!support!and!brilliant!advice.! ! I!would!also!like!to!thank!the!many!professors!in!the!English!Department!who!have!also! inspired!me!over!the!years!to!continue!reading,!writing,!and!thinking,!especially!Professor!Bonnie! Rudner!and!Dr.!James!Smith.! ! Finally,!as!always,!I!must!thank!my!family!of!Mafiosi:!! Non!siamo!ricchi!di!denaro,!ma!siamo!ricchi!di!sangue.! TABLE OF CONTENTS Introduction.........................................................................................................................................1-3 CHAPTER ONE: The Hyphenate Individual ..............................................................................................................4-17 The -
Cases and Materials on the Outfit
Rosen: Cases and Materials on The Outfit David Rosen Don Corleone to Sonny, in The Godfather The Don sighed. "Well, then I can't talk to you about how you should behave. Don't you want to finish school, don't you want to be a lawyer? Lawyers can steal more money with a briefcase than a thousand men with guns and masks. " Robert Warshow, in "The Gangster as Tragic Hero" Thus, the importance of the gangster film, and the nature and intensity of its emotional and esthetic impact, cannot be measured in terms of the place of the gangster himself or the importance of the problem of crime in American life. Those European movie-goers who think there is a gangster on every comer in New York are certainly deceived, but defenders of the "positive" side of American culture are equally deceived if they think it relevant to point out that most Cases and Materials Americans have never seen a gangster. What matters is that the experience of the gangster as an experience of on art is universal to Americans. There is almost nothing we understand better or react to more readily or with The Outfit quicker intelligence. This night, though, Pam had a different tale to tell. She announced that she and her friend Annie, the daughter of a prize-winning biologist, had gone to see "The Godfather," that they had been so deeply moved that, instead of going home, she'd gone tripping around town in search of the Mafia. I remember one night Pam showed up at the House at "The Mafia!" three in the morning. -
Law Enforcement Bulletin 104362-104363 U.S
If you have issues viewing or accessing this file contact us at NCJRS.gov. February 1987~ Law Enforcement Bulletin 104362-104363 U.S. Department dt Justice Nationallnslllute of Justice This document has been reproduced exactly as received from the person or organization originating it. Points of view or opinions stat?d in this document are those of the authors and do not necessarily represent the official position or policies of the National Institute of Justice. Permission to reproduce this ~ted material has been granted by FBI Law Enforcement Bulletin to the National Criminal Justice Reference Service (NCJRS). Further reproduction outside of the NCJRS system requires permis sion of the c~ht owner. February 19B7, Volume 56, Number 2 1 'The Sicilian Mafia and Its Impact on the United States Lay Sean M. McWeeney (" 0 cf 3b ~ 11 A Tradition of Excellence: The Southern Police Institute By Norman E. Pomrenke and B. Edward Campbell [P@OiJil~ @1I WO@W 15 UMen and Women Who Wear the Badge •.. That Others May Find Their Way" By Hon. Peter T. Fay [P[)'@@@ OO@O@~O@OU@ 18 An Automated News Media System By Roger Dickson 11®®@O @U®@@~ 22\lntrusive Body Searches: f,. Question of Reasonableness ~BY Kimberly A. Kingston, J.D. ((? 4-:3 63 31 Wanted by the FBI m] Law Enforcement Bulletin United States Department of Justice Published by the Office of The Cover: Federal Bureau of Investigation Congressional and Public Affairs, A media computer network system facilitates William M. Baker, Assistant Director the Interaction between a law enforcement agency Washington, DC 20535 and the local media by offering more-comprehen sive news coverage. -
A 2X52' Documentary by ANNE VERON
AB INTERNATIONAL DISTRIBUTION PRESENTS A 2X52’ documentary by ANNE VERON THE AMERICAN & SICILIAN MAFIAS : TWO FACTIONS THAT HAVE GIVEN CRIME A LEGENDARY STATUS A 2X52’ documentary by ANNE VERON SYNOPSIS NOTE OF INTENTION It has inspired the biggest directors. Be it the images of corpses strewn on This documentary in two episodes will One only needs to look at the photographs Plenty writers have helped immortalise the streets of New York or Palermo, of recount the history of the Cosa Nostra of Luciano Leggio when appearing at his it. The Cosa Nostra is the aristocracy of a disembowelled highway, blown up from its beginning in Sicily in the ‘50s until trial at the tribunal of Palermo in 1974: he organised crime. With its codes, its ho- by half a ton of explosives to get rid of these days. seems to have been set upon resembling nour-system, the omerta, the vendettas… a magistrate having become a thorn in Marlon Brando as Don Corleone with his The Cosa Nostra also encompasses all of the eye…The everyday drama of mob This story is told through testimonials of cigar, his heavy jaw and his arrogant de- the superlatives: the most mythical, ele- violence, the blood of the victims and repented mobsters, historians, magis- meanour The godfather of the movie was gant, violent, secret, the most popular… the tears of those who survived have trates, and journalists. We will depict their an image of how the mobsters liked to see the most fascinating. It’s the organisation forever left its print on the 20th century. -
Godfather Part II by Michael Sragow “The a List: the National Society of Film Critics’ 100 Essential Films,” 2002
The Godfather and The Godfather Part II By Michael Sragow “The A List: The National Society of Film Critics’ 100 Essential Films,” 2002 Reprinted by permission of the author Although Francis Ford Coppola has often been depicted president.” — and loves to depict himself — as primarily an emotion- Kay re- al and intuitive director, “The Godfather” is a film filled sponds, with correct choices, painstakingly thought out and pas- “You know sionately carried through. Part of what made it a break- how naïve through as a crime move is that it’s about gangsters who you sound? make choices too and aren’t propelled simply by blood- Senators lust and greed. They’re battling for position in New York’s and presi- Five Families, circa 1945-1946. If Don Vito Corleone dents don’t (Marlon Brando) and his successor Michael (Al Pacino) have men come off looking better than all the others, it’s because killed.” In a they play the power game the cleverest and best — and line that Marlon Brando as Don Vito Corleone. the game is sordidly exciting. marked a Courtesy Library of Congress breakthrough For all the movie’s warmth, you could never confuse the for mainstream political awareness when the film premi- Corleones or their allies and competitors for fun-loving ered in 1972, Michael wearily answers, “Who’s being ethnic types. The first scene shows the Don exacting naïve, Kay?” deadly patronage, coercing an undertaker named Bonasera into vows of love and pledges of unmitigated But when Michael says his father’s way of doing things is loyalty in exchange for a feudal bond than can’t be bro- finished, he is being naïve. -
The Godfather
Global Journal of HUMAN-SOCIAL SCIENCE: G Linguistics & Education Volume 17 Issue 7 Version 1.0 Year 2017 Type: Double Blind Peer Reviewed International Research Journal Publisher: Global Journals Inc. (USA) Online ISSN: 2249-460x & Print ISSN: 0975-587X The Sociolinguistic Features of Gangster Argot in the Godfather By Zheng Yang Shanghai Jiao Tong University Abstract- Modern linguists reached an agreement on the argument that language capability makes human species unique among all group-living species on the planet, so it can be hypothesized that a language could not survive if it were disconnected from interpersonal relations. Despite a well entrenched consensus on language equality among modern linguists, there is an intangible pyramid of languages due to linguistic discrimination. Gangster argot, which is subjected to a subliminal “censorship” from the vast majority of people, has seldom been considered as a decent and valuable topic in the field of modern linguistic studies. In view that The Godfather is exemplary of the way Mafia members speak in real-life scenarios, this novel is sampled as an optimal literary discourse to study what makes gangster argot different from ordinary speech. On the basis of literary specimens excerpted from the novel, this research concludes that gangster argot, which juxtaposes conciseness with confidentiality, is characteristic of adaptive resilience, absorptive capacity, and provocative rhetoric. Keywords: gangster argot, the godfather, sociolects, sociolinguistics. GJHSS-G Classification: FOR Code: 200405 TheSociolinguisticFeaturesofGangsterArgotintheGodfather Strictly as per the compliance and regulations of: © 2017. Zheng Yang. This is a research/review paper, distributed under the terms of the Creative Commons Attribution- Noncommercial 3.0 Unported License http://creat ivecommons.org/licenses/by-nc/3.0/), permitting all non-commercial use, distribution, and reproduction in any medium, provided the original work is properly cited. -
Notes from the Sicilian Archipelago
Baldacchino: Sicily/Lingering Colonial Outlier - ISLAND REFLECTIONS - LINGERING COLONIAL OUTLIER YET MINIATURE CONTINENT: NOTES FROM THE SICILIAN ARCHIPELAGO GODFREY BALDACCHINO University of Malta/ University of Prince Edward Island <[email protected]> Abstract The fortunes of the wider Mediterranean Sea, the world’s largest, have never rested on Sicily, its largest island. A stubbornly peripheral region, and possibly the world’s most bridgeable island, Sicily has been largely neglected within the field of Island Studies. The physically largest island with the largest population in the region, and housing Europe’s most active volcano, Sicily has moved from being a hinterland for warring factions (Sparta/Athens, Carthage/Rome), to a more centrist stage befitting its location, although still remaining a political outlier in the modern era. Unlike many even smaller islands with smaller populations, however, Sicily has remained an appendage to a larger, and largely dysfunctional, state. The Maltese islands are part of ‘the Sicilian archipelago’, and it was a whim of Charles V of Spain that politically cut off Malta from this node in the 1520s, but not culturally. This article will review some of the multiple representations of this island, and its changing fortunes. Keywords Archipelago, heterotopias, Island Studies, Sicily, Italy, Malta, Mediterranean, periphery Introduction In both its physical and its human setting, the Mediterranean crossroads, the Mediterranean patchwork, leaves a coherent image in the mind as a system in which everything mingles and is then recast to form a new, original unity (Braudel, 1985: 5). On a clear wintry day, one can easily see the snow-capped top of Mount Etna, Europe’s largest active volcano, from various vantage points on the Maltese islands; and the lights along the southern Sicilian coast are also readily visible from the northern hills of Malta during clear nights (see Figure 1). -
OMERTÀ AS a WORLDVIEW PHENOMENON of the ITALIAN MAFIA Olena Andriyenko, Phd, Professor Academician of the Academy of Higher Education of Ukraine, Ukraine, Kiev
Paradigm of Knowledge № 4(36), 2019 DOI 10.26886/2520-7474.4(36)2019.2 UDC 008 OMERTÀ AS A WORLDVIEW PHENOMENON OF THE ITALIAN MAFIA Olena Andriyenko, PhD, Professor Academician of the Academy of Higher Education of Ukraine, Ukraine, Kiev The article is devoted to the philosophical inquiry of mafia worldview system the base of which is omertà – the code of honor of the Italian mafia which is based on the code of silence deeply rooted in southern Italy and Corsica, the refusal to cooperate with the authorities and non-interference in other people’s legal affairs. The methodological mistakes connected with trying to analyze mafia worldview in comparison with the scale of values of democratic society have been shown. It has been stressed that omertà is not only a system of keeping silence but also a system of specific ways of communication inside of the mafia community. The forms of manipulation of the consciousness of the personality have been revealed depending on the characteristics of political regimes (democratic, authoritarian, totalitarian forms of the social mechanism of manipulation of the personality consciousness). It has been concluded that mafia as worldview system and type of social organization is an alternative form of social integration. It has deep historical and cultural roots which are connected with absence of stable national state governance in the South of Italy during ages; with deep distrust of the official state; with irrational desire to reproduce the “real power” in another form based on the family values and kinship. Key words: Worldview, Personality, Community, State, Values. -
Influence of Michael Corleone's Personalities on His Relationship
Advances in Social Science, Education and Humanities Research, volume 497 Proceedings of the 2nd International Conference on Literature, Art and Human Development (ICLAHD 2020) Influence of Michael Corleone’s Personalities on His Relationship With Other Characters in Trilogy of The Godfather Longhe Cao Shenzhen Middle School, Shenzhen, Guangdong 518034, China *Corresponding author. Email: [email protected] ABSTRACT Analyzing the personalities and relationship of the characters is an effective method for both the professionals and the ordinary audience to comprehend movies. By discovering and explaining how Michael Corleone in The Godfather influences his relationship with other characters, this dissertation is aimed at assisting readers to fully comprehend the essence of movies in detail. This paper utilizes the method which extracts a variety of conflicts and major transitions between Michael and other characters to reflect how Michael’s personalities work on these relationships. Based on the facts in the movie, Michael demonstrates different attitudes to his family members and the outsiders of his family. It will be helpful for the audience if there are researches which can deeply analyze a more well-rounded image of Michael’s Corleone, besides analyzing his relationship and personalities appears in the future. This paper finally concludes that Michael’s personalities cause him to have completely different relationships with two types of character, as the family members and the outsiders. Keywords: Personalities, relationship, influence, gangster, Godfather 1. INTRODUCTION 2. OVERVIEW OF MICHAEL CORLEONE’S PERSONALITIES The Godfather, as a classic and representative Italian gangster movie, reflects the conflicts between Corleone Overall, Michael has two types of personalities, including family and other forces in United States as well as the stable personalities and the variational personalities. -
2. the Godfather Returns.Pdf
The Godfather Returns Mark Winegardner alla mia famiglia "Whoever forsakes the old way for the new knows what he is losing, but not what he will find. " Sicilian proverb "They were killing my friends." AUDIE MURPHY, most decorated U.S. soldier of World War II, when asked how he had found the courage to fight an entire German infantry company *The Godfather II also covers the early life of Vito Corleone (1910-1939) in flashback scenes. **The second half of The Godfather Returns also covers the early life of Michael Corleone (1920-1945) in flashback scenes. THE CORLEONE FAMILY Vito Corleone, the first godfather of New York's most powerful crime family Carmela Corleone, Vito Corleone's wife and mother of their four children Sonny Corleone, Vito and Carmela Corleone's oldest son Sandra Corleone, Sonny's wife, now living in Florida Francesca, Kathy, Frankie, and Chip Corleone, Sonny and Sandra Corleone's children Tom Hagen, consigliere and unofficially adopted son Theresa Hagen, Tom's wife and mother of their three children Andrew, Frank, and Gianna Frederico "Fredo" Corleone, Vito and Carmela's second-born son (underboss 1955-1959) Deanna Dunn, Oscar-winning actress and Fredo's wife Michael Corleone, Vito's youngest son and the reigning Don of the Corleone Family Kay Adams Corleone, Michael's second wife Anthony and Mary Corleone, children of Michael and Kay Corleone Connie Corleone, Vito and Carmela's daughter Carlo Rizzi, Connie Corleone's deceased husband Ed Federici, Connie Corleone's second husband THE CORLEONE FAMILY ORGANIZATION Cosimo "Momo the Roach" Barone, soldato under Geraci and nephew of Sally Tessio Pete Clemenza, caporegime Fausto Dominick "Nick" Geraci, Jr. -
The Godfather Study Guide
OSCAR WINNER 1972: Best Picture Best Actor Best Adapted Screenplay TEACHERS’ NOTES This study guide is aimed at students of GCSE Media Studies, A’Level Film Studies and GNVO Media: Communication and Production (Intermediate and Advanced). Specific areas of study covered by the guide are those of genre, representation and the issue of violence in film. The Godfather: Certificate 18. Running Time 175 minutes. MAJOR CREDITS FOR THE GODFATHER The Godfather 1972 (Paramount) Producer: Albert S. Ruddy Director: Francis Coppola Screenplay: Mario Puzo, Francis Coppola Director of Photography: Gordon Willis Editors: William Reynolds, Peter Zinner Music: Nino Rota Art Director: Dean Tavoularis Cast: Marion Brando Al Pacino James Caan Richard Conte Robert Duvall Sterling Hayden Oscars 1972: Best Picture Best Actor (Marion Brando) Best Adapted Screenplay Oscar Nominations 1972: Best Director Best Supporting Actor (James Caan, Robert Duvall, Al Pacino) Best Music [later declared incligiblel Best Costume Design Best Editing Best Sound © Film Education 1 THE GODFATHER Coppola’s The Godfather was the direct descendant of dozens of gangster movies made with stars like Cagney and Edward C. Robinson. But there was a vital difference. Its examination of the Corleone family had a consistently human dimension that made the evil of the Mafia, who loved it for the wrong reasons, all the more horrendous. As a study of evil, it was all the better for assuming that such darkness emanated not from dyed-in-thewool villains but out of some of the family values we now most cherish. Added to that, of course, was the brilliance of its making, with Gordon Willis’ photography and Nino Rota’s score adding to Coppola’s fine orchestration of a terrific cast.