Download Crime Films (Genres in American Cinema) by Thomas Leitch PDF

By Thomas Leitch

Targeting ten movies that span the variety of the 20 th century, Thomas Leitch lines the transformation of 3 figures universal to all crime movies: the legal, the sufferer and the avenger. He exhibits how the differences between them develop into blurred through the process the century, reflecting and fostering a deep social ambivalence in the direction of crime and criminals. The felony, sufferer and avenger characters successfully map the moving kin among subgenres (such because the erotic mystery and the police movie) in the higher style of crime movie.

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Extra resources for Crime Films (Genres in American Cinema)

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So powerful was the appeal of Woolrich’s nightmare fantasies that apart from Erle Stanley Gardner, whose dozens of Perry Mason novels served as the basis for the 1957–66 television series, no crime writer approaches the number of Woolrich’s source credits for movies. Films based on his novels and stories include Convicted (1938), Street of Historical and Cultural Overview Chance (1942), The Leopard Man (1943), Phantom Lady (1944), Mark of the Whistler (1944), Deadline at Dawn (1946), Black Angel (1946), The Chase (1946), Fall Guy (1947), Fear in the Night (1947), The Guilty (1947), I Wouldn’t Be in Your Shoes (1948), Return of the Whistler (1948), The Night Has a Thousand Eyes (1948), The Window (1949), No Man of Her Own (1950) and its remakes I Married a Shadow (J'ai épousé une ombre, France, 1982) and Mrs.

Ever since the coming of synchronized sound had encouraged Hollywood to turn to literary and dramatic sources, the great gangster films, like the great detective films, had all been based on literary properties; even Scarface, allegedly written from Chicago headlines, credited Armitrage Trail’s novel as its source. 16 It may seem strange to claim Dashiell Hammett, Raymond Chandler, and James M. Cain as literary, but all of them had connections and pretensions to the literary establishment, and all of them – unlike fellow pulp writers Carroll John Daly and Erle Stanley Gardner – turned from action writers to literary stylists when they left the short story for the novel.

As the journalistic currency of criminals declined, their literary matrix stood out in sharper relief. Ever since the coming of synchronized sound had encouraged Hollywood to turn to literary and dramatic sources, the great gangster films, like the great detective films, had all been based on literary properties; even Scarface, allegedly written from Chicago headlines, credited Armitrage Trail’s novel as its source. 16 It may seem strange to claim Dashiell Hammett, Raymond Chandler, and James M. Cain as literary, but all of them had connections and pretensions to the literary establishment, and all of them – unlike fellow pulp writers Carroll John Daly and Erle Stanley Gardner – turned from action writers to literary stylists when they left the short story for the novel.

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