79. Gomorrah: Gender

Kapitel in diesem Buch

1. Frontmatter i
2. Contents vii
3. Acknowledgments xv
4. Part One. Setting the Scene
5. 1. The Corleones at Home and Abroad 1
6. 2. Gender and Violence: Four Themes in the Everyday World of Mafia Wives 26
7. Part Two. American Mafia Movies and Television: The Corleones at Home and Abroad
8. 3. Wallace McCutcheon’s The Black Hand: A Different Version of a Biograph Kidnapping 41
9. 4. ‘Most Thrilling Subjects’: D.W. Griffith and the Biograph Revenge Films 46
10. 5. Ethnicity and the Classical Gangster Film: Mervyn LeRoy’s Little Caesar and Howard Hawks’s Scarface 52
11. 6. Playing Good Italian/Bad Italian on ABC’s The Untouchables 58
12. 7. Prelude to The Godfather: Martin Ritt’s The Brotherhood 64
13. 8. Michael Corleone’s Tie: Francis Ford Coppola’s The Godfather 70
14. 9. Nihilism and Mafiositá in Martin Scorsese’s Mean Streets 76
15. 10. Thematic Patterns in Francis Ford Coppola’s The Godfather: Part II 82
16. 11. The Sexual Politics of Loyalty in John Huston’s Prizzi’s Honor 87
17. 12. Between Postmodern Parody and Generic Hybridization: The Gangsters of Brian De Palma’s The Untouchables 93
18. 13. The Bandit, the Gangster, and the American Army Shorts: Michael Cimino’s The Sicilian 98
19. 14. Martin Scorsese’s Goodfellas: Hybrid Storytelling between Realism and Formalism 103
20. 15. Redemption in Francis Ford Coppola’s The Godfather: Part III 109
21. 16. Narrating the Mafia, Las Vegas, and Ethnicity in Martin Scorsese’s Casino 114
22. 17. ‘Nothing Romantic about It’: Gender and the Legacy of Crime in Abel Ferrara’s The Funeral 120
23. 18. Inside the Mafia: Mike Newell’s Donnie Brasco 126
24. 19. Family Therapy: Harold Ramis’s Analyze This and the Evolution of the Gangster Genre 132
25. 20. Martin Scorsese’s The Departed, or the Quest for a Departed (Ethnic) Identity 138
26. 21. When Words Can Kill: David Chase’s The Sopranos 145
27. 22. ‘Don’t Stop Believin’, Don’t Stop …’: (De)Structuring Expectations in the Final Season of The Sopranos 151
28. 23. ‘History Doesn’t Repeat Itself, but It Does Rhyme’: Fictionalizing History in Boardwalk Empire 157
29. 24. Mob Wives: Exploitation or Empowerment? 163
30. Part Three. Italian Mafia Movies and Television: Resistance and Myth
31. 25. Which Law Is the Father’s? Gender and Generic Oscillation in Pietro Germi’s In the Name of the Law 171
32. 26. The Visible, Unexposed: Francesco Rosi’s Salvatore Giuliano 177
33. 27. Modernity, Mafia Style: Alberto Lattuada’s Mafioso 183
34. 28. Francesco Rosi’s Hands over the City: A Contemporary Perspective on the Camorra 188
35. 29. Prototypes of the Mafia: Luchino Visconti’s The Leopard 194
36. 30. The Failure of the Intellectual: Elio Petri’s Filming of Leonardo Sciascia’s To Each His Own 200
37. 31. Damiano Damiani’s The Day of the Owl: A Western Flirtation 206
38. 32. Smaller and Larger Families: Lina Wertmüller’s The Seduction of Mimi 212
39. 33. Deconstructing the Enigma: Logical Investigations in Francesco Rosi’s Lucky Luciano 218
40. 34. Power as Such: The Idea of the Mafia in Francesco Rosi’s Illustrious Corpses 224
41. 35. Marco Risi’s Forever Mary: Desperate Lives Converge in Sicilia ‘Non Bedda’ 230
42. 36. Threads of Political Violence in Italy’s Spiderweb: Giorgio Ambrosoli’s Murder in Michele Placido’s A Bourgeois Hero 236
43. 37. Sacrifice, Sacrament, and the Body in Ricky Tognazzi’s La scorta 242
44. 38. Pasquale Scimeca’s Placido Rizzotto: A Different View of Corleone 247
45. 39. Marco Tullio Giordana’s The Hundred Steps: The Biopic as Political Cinema 253
46. 40. Roberta Torre’s Angela: The Mafia and the ‘Woman’s Film’ 259
47. 41. Organized Crime and Unfulfilled Promises in Gabriele Salvatores’ I’m Not Scared 265
48. 42. Growing Up Camorrista: Antonio and Andrea Frazzi’s Certi bambini 271
49. 43. Lipstick and Chocolate: Paolo Sorrentino’s The Consequences of Love 277
50. 44. The In(di)visibility of the Mafia, Politics, and Ethics in Bianchi and Nerazzini’s The Mafia Is White 283
51. 45. Marco Turco’s Excellent Cadavers: An Italian Tragedy 289
52. 46. Dispatches from Hell: Matteo Garrone’s Gomorrah 294
53. 47. From Comedy to Commemoration: Pierfrancesco Diliberto’s La mafia uccide solo d’estate 300
54. 48. Fabio Grassadonia and Antonio Piazza’s Salvo: The Sound of Redemption in an Infernal Landscape 306
55. 49. Of Renegades and Game Players: Shifting Sympathies in Gomorra: la serie 312
56. Part Four. Italy’s Other Mafias in Film and on Television: A Roundtable
57. 50. Introduction – The Banda della Magliana, the Camorra, the ’Ndrangheta, and the Sacra Corona Unita: The Mafia On Screen beyond the Cosa Nostra 321
58. 51. Historicizing Italy’s Other Mafias: Some Considerations 329
59. 52. Romanzo criminale: Roma Caput Violandi 334
60. 53. Romanzo criminale: la serie 338
61. 54. Toxic Tables: The Representation of Food in Camorra Films 342
62. 55. The New Mafia in Una vita tranquilla 346
63. 56. Soap Operas 349
64. 57. Response #1 353
65. 58. Response #2 355
66. 59. Response #3 357
67. 60. Conclusion 359
68. Part Five. Double Takes
69. The Godfather
70. 61. The Godfather: Performance and Stardom 363
71. 62. The Godfather: Adaptation 365
72. 63. The Godfather: Gender 367
73. 64. The Godfather: Scene Analysis – Don Vito’s Office 369
74. 65. The Godfather: Scene Analysis – The Baptism/Murder 371
75. 66. The Godfather: Scene Analysis – The Finale 373
76. The Sopranos
77. 67. The Sopranos: Antiheroic Masculinity 375
78. 68. The Sopranos: Gender 377
79. 69. The Sopranos: (Sub)Urban Space 379
80. 70. The Sopranos: Episode 1.01, ‘The Sopranos’ 381
81. 71. The Sopranos: Episode 1.05, ‘College’ 383
82. 72. The Sopranos: Episode 2.04, ‘Commendatori’ 385
83. Romanzo criminale
84. 73. Romanzo criminale: Performance and Stardom 387
85. 74. Romanzo criminale: Adaptation/Transmedia 389
86. 75. Romanzo criminale: Gender 391
87. 76. Romanzo criminale: Politics and Terrorism 393
88. 77. Romanzo criminale: Scene Analysis – The Aldo Moro Kidnapping 395
89. 78. Romanzo criminale: Scene Analysis – The Bologna Bombing 397
90. Gomorrah
91. 79. Gomorrah: Gender 399
92. 80. Gomorrah: Metacinematic References 401
93. 81. Gomorrah: Urban Space 403
94. 82. Gomorrah: Scene Analysis – Opening Sequence 405
95. 83. Gomorrah: Scene Analysis – The Initiation of Totò 407
96. 84. Gomorrah: Scene Analysis – The Finale 409
97. Filmography 411
98. Selected Bibliography 417
99. Contributors 425