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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.
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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
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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.
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Download the Sicilian Pdf Ebook by Mario Puzo
Download The Sicilian pdf ebook by Mario Puzo You're readind a review The Sicilian book. To get able to download The Sicilian you need to fill in the form and provide your personal information. Ebook available on iOS, Android, PC & Mac. Gather your favorite books in your digital library. * *Please Note: We cannot guarantee the availability of this ebook on an database site. Book File Details: Original title: The Sicilian Paperback: Publisher: Arrow (2001) Language: English ISBN-10: 9780099580799 ISBN-13: 978-0099580799 ASIN: 0099580799 Product Dimensions:5.1 x 1 x 7.8 inches File Format: PDF File Size: 4284 kB Description: Michael Corleone is returning to the U.S. after the two-year exile to Sicily in which reader left him in The Godfather. But he is ordered to bring with him the young Sicilian bandit, Salvatore Guiliano, who is the unofficial ruler of northwestern Sicily. In his fight to make Sicilians free people, the young folk hero, based on the real-life Giuliano... Review: The Sicilian is a different storyline from The Godfather, but does intersect with Michael Corleone just before and just after his return to the US after that Sollozzo unpleasantness. There also is a surprising connection with Peter Clemenza. If you enjoyed The Godfather, then I believe you will enjoy The Sicilian.... Ebook File Tags: mario puzo pdf, michael corleone pdf, robin hood pdf, salvatore giuliano pdf, corleone family pdf, story line pdf, salvatore guiliano pdf, takes place pdf, good book pdf, better than the godfather pdf, great book pdf, main character pdf, read this book pdf, highly recommended pdf, turi giuliano pdf, sequel to the godfather pdf, puzo is probably best pdf, godfather series pdf, turi guiliano pdf, great story The Sicilian pdf book by Mario Puzo in pdf ebooks The Sicilian the sicilian book sicilian the fb2 sicilian the ebook the sicilian pdf The Sicilian I barely noticed any structural of sicilian issues.
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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.
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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.
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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.
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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.
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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.
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Revisiting Violence in the Godfather: the Ambiguous Space of the Victimage Model
Journal of Religion & Film Volume 9 Issue 2 October 2005 Article 2 October 2005 Revisiting Violence in The Godfather: The Ambiguous Space of the Victimage Model Paul Graham [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Graham, Paul (2005) "Revisiting Violence in The Godfather: The Ambiguous Space of the Victimage Model," Journal of Religion & Film: Vol. 9 : Iss. 2 , Article 2. Available at: https://digitalcommons.unomaha.edu/jrf/vol9/iss2/2 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Revisiting Violence in The Godfather: The Ambiguous Space of the Victimage Model Abstract This article closely revisits and praises the long, contemplative scenes and the fast contrapuntal cutting of the violence displayed in The Godfather to show how the movie's superior editing and filming style help to overturn its own violent message. Thus, the film, however cynically, completes Girard's the victimage model without actually immolating its would-be scapegoat. By inhabiting the deconstructive "space” of the scapegoating motif, the film's bloody scenes undercut themselves and help to enact a message against the violence within the ideologies of the American Dream, capitalist competition, or any other factor that may serve to mitigate Michael Corleone's actions. This article is available in Journal of Religion & Film: https://digitalcommons.unomaha.edu/jrf/vol9/iss2/2 Graham: Revisiting Violence in The Godfather The easiest way to sum up René Girard's writings is to say that a series of imitative behaviors will build up over time until they reach a crisis, which a community will vanquish by eliminating an innocent scapegoat or surrogate victim.
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The Reflection of Successful American Dream Through the Character of Michael Corleone in Mark Winegardner’S the Godfather Returns
THE REFLECTION OF SUCCESSFUL AMERICAN DREAM THROUGH THE CHARACTER OF MICHAEL CORLEONE IN MARK WINEGARDNER’S THE GODFATHER RETURNS AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters By DODI ROSYID SAPUTRA Student Number: 034214064 ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2008 THE REFLECTION OF SUCCESSFUL AMERICAN DREAM THROUGH THE CHARACTER OF MICHAEL CORLEONE IN MARK WINEGARDNER’S THE GODFATHER RETURNS AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters By DODI ROSYID SAPUTRA Student Number: 034214064 ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2008 i ACKNOWLEDGEMENTS My first and greatest gratitude goes to Allah SWT who has given me life, power, guidance and everything so I can stand still till this second and by his blessing and guidance I can finish my study and my thesis. This thesis is dedicated to my beloved mother and father who always pray for my success, encourage me and support me emotionally, spiritually, and financially. My gratitude also goes to my advisor Paulus Sarwoto, S.S., M.A. who has given me big help and support during the writing of my thesis. I would like to thank to J. Harris Hermansyah S., S.S., M.Hum. and Ni Luh Putu Rosiandani, S.S., M.Hum. for the critical corrections and suggestions. My warmest thanks go to my older sister Debie and my best friend Budi. Thanks to Mbak Debie for accompanying and supporting me during my hard time in writing this thesis and to Budi for the support and our friendship.
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Lost in Translation: “Godfather” Vocabulary
Name___________________ Date_____________ Film & Lit. Mr. Corbo Lost in Translation: “Godfather” Vocabulary The Godfather makes use of a variety of Italian words, phrases, and expressions: Paulie says "sfortunato", which in Italian means "unlucky guy". Michael explains that Tom is a "consigliere", or a counselor. Vito calls Johnny Fontane a "finocchio", an offensive term for a homosexual. Sonny refers to Paulie as a "stronzo", a term equivalent to "a**hole". Carlo and Connie both say "va fa 'n culo" during their fight, which means "go f**k yourself". Don Zaluchi calls the sale of drugs to children as an "infamnia", or an infamy. Both the Dons (Vito & Michael) use the word "pezzonovante", which means ".95 caliber," or more accurately meaning "big shot". “Vendetta”: a private feud, originally between Corsican or Sicilian families, in which the relatives of a murdered person seek vengeance by killing the murderer or some member of his family. Michael calls Apollonia “pazzo”, meaning “crazy”. Offensive terms for Italians (used by Woltz, Carlo, & Moe Green): “Guinea”, “goomba”, “Wop”, “greaseball”, “Dago” Sollozzo speaks to Michael in Sicilian: "I am sorry. What happened to your father was business. I have much respect for your father. But your father, his thinking is old-fashioned. You must understand why I had to do that. Now let's work through where we go from here." When Michael returns from the bathroom, he continues in Sicilian with: "Everything all right? I respect myself, understand, and cannot allow another man to hold me back. What happened was unavoidable. I had the unspoken support of the other Family dons.
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