The Social Attitude in Films

Thomas Schatz notes that sprout music genres groundwork be viewed as organizations developed within the confines of commercialized filmmaking to sell films as specific types for those who would consume those types. The genre is overly a cultural structure that becomes a meaningful system recognized as such:

To identify a frequent cinematic formula, then, is to recognize its status as a coherent, lever-laden storey system. Its significance is immediately evident to those who produce and consume it (Schatz 16).

The mobster genre, Schatz notes, has a built-in ambiguity in terms of its value system, which in sequence worked its charge into American culture (Schatz 95). The screen door gangster came not from literature but from headlines as "Hollywood exploited the notoriety and social significance of their real-world counterparts while it alter their character and environment to the peculiar demands of Hollywood narrativity" (Schatz 82).

Robert Warshow in his oblige "Movie Chronicle: The Westerner" offers an interesting example of genre criticism as he finds relationships between what he calls the " devil most successful creations of American photos," the gangster and the Westerner, "men with guns" (Warshow 469). When he wrote this article in 1954, he said that the gangster movie no longer existed in its sheer form. However, our awareness of the parameters of the classical form still infuses how we watch a gangster film fr

Camonte's story reflected the nature of the times, picnic as it did on bootlegging and including the use of a naked technology in the form of the machine gun. The film was unified on the American dream and the myth of the self-make man, as had been sooner gangster films, but this one differed in the way it featured Camonte's "primitive brutality, simple-minded naivetT, and sexual confusion made him a figure with little charisma and with virtually no redeeming qualities" (Schatz 91). The film makes strong use of a variant of gangster-film iconography, from the guns in shoulder holsters to the machine-guns eliminating the competition, from fast cars on city streets to time spent with men in suits in offices that do fell business.

Even the relationships Tony Camonte has with his mother and child would become repeated in other gangster films--tony's devotion to his mother would be overdraw to a high degree in White Heat, for instance, and his over-protection of his sister would to a fault be seen in other gangster films, though perhaps not to the obsessive degree seen here and in the later Scarface.

However, the details vary from one story to another, as may the social background. Scarface (1983) features Tony Montana, a Cuban rather than an Italian immigrant who also sees crime as the way to the top. The crime is diverse as well--instead of liquor and gambling, the new paradigm is drugs, a more pernicious crime that destroys not only the customers but sellers who also become users like Tony Montana. Violence remains a trace element in this film as in the earlier one, but the violence is more bloody, more intrusive, more gut-wrenching, notably the scene in which a man is torn isolated by a chainsaw, but including the final shootout which is often more violent than the original. The essentials of the plot have bene maintained, including the way the cruel perverts the idea of the American Dream, the rise and fall of the main character, and the obsessi
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